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= SALE NUMBER 2124 
£ _ PUBLIC EXHIBITION FROM SATURDAY, JANUARY EIGHTH 


rr 


GWghe 


EMILE GROSS 
tr XAVIER HAAS 


a COLLECTIONS OF 
_ ENGLISH XVIIIT# CENTURY 
DRAWINGS & PASTELS 


ae 5’ SOLD BY ORDER OF 
a the | XAVIER HAAS 


14 RUE CASSINI, PARIS, FRANCE 


rie 
“a . 


THE CATALOGUE BY 


R. R. M. SEE 
AUTHOR OF 


“ENGLISH PASTELS 1750-1830” 
“MASQUERIER AND HIS CIRCLE” 


TO BE SOLD BY AUCTION 
THURSDAY & FRIDAY EVENINGS 
JANUARY THIRTEENTH, FOURTEENTH 
AY cul rTiritsN = = =——tSC~—S 


THE ANDERSON GALLERIES 
Tn Tonk 


1927 


SALE NUMBER 2124 
PUBLIC EXHIBITION FROM SATURDAY, JANUARY EIGHTH 


Abs fe 


EMILE GROSS 
tr XAVIER HAAS 


COLLECTIONS OF 


ENGLISH XVIUITH CENTURY 
DRAWINGS & PASTELS 


SOLD BY ORDER OF 


XAVIER HAAS 


14 RUE CASSINI, PARIS, PRANCE 


THE CATALOGUE BY 


R. R. M. SEE 
AUTHOR OF 


“ENGLISH PASTELS 1750-1830” 
“MASQUERIER AND HIS CIRCLE” 


TO BE SOLD BY AUCTION 
THURSDAY & FRIDAY EVENINGS 
JANUARY THIRTEENTH, FOURTEENTH 
AT EIGHT’FIFTEEN 


THE ANDERSON GALLERIES 
{MITCHELL KENNERLEY, Present] 


489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 
1927 


CONDITIONS OF SALE 


ALL BIDS TO BE PER LOT AS NUMBERED IN THE CATALOGUE. 


The highest bidder to be the buyer. In all cases of disputed bids the decision of the 


Auctioneer shall be final. 


Buyers to give their names and addresses and to make such cash payments on account 
as may be required, in default of which the lots purchased shall be resold immediately. 


Purchases to be removed at the buyer’s expense and risk within twenty-four hours from 
the conclusion of the sale, and the remainder of the purchase money to be paid on or 
before delivery, in default of which The Anderson Galleries, Incorporated, will not be 
responsible for any loss or damage whatever, but the lot or lots will be left at the sole 


risk of the purchaser, and subject to storage charges. — 


All lots will be placed on public exhibition before the date of sale, for examination by 
intending purchasers, and The Anderson Galleries, Incorporated, will not be responsible 
for the correctness of the description, authenticity, genuineness, or for any defect or 
fault in or concerning any lot, and makes no warranty whatever, but will sell each lot 


exactly as it is, WITHOUT RECOURSE. 


If accounts are not paid and purchases removed within twenty-four hours of the con- 
clusion of the sale, or, in the case of absent buyers, when bills are rendered, any sum 
deposited as part payment shall be forfeited, and The Anderson Galleries, Incorporated, 
reserves the right to resell the lot or lots by either private or public sale, without further 
notice, and if any deficiency arises from such resale it shall be made good by the defaulter, 
together with all expenses incurred. This condition shall be without prejudice to the right 
of this Company to enforce the sale contract and collect the amount due without such 
resale, at its own option. 


The Anderson Galleries, Incorporated, will afford every facility for the employment of 
carriers and packers by the purchasers, but will not be responsible for any damage arising 
from the acts of such carriers and packers. 


The Anderson Galleries makes no charge for executing orders for its customers and uses 
all bids competitively, buying at the lowest price permitted by other bids. 


A Priced Copy of this Catalogue may be obtained for One Dollar 
for each Session of the Sale 


THE ANDERSON ‘GALLERIES, INC: 
489 Park AVENUE AT Firty-NINTH STREET, New York 


TELEPHONE REGENT 0250 CATALOGUES ON REQUEST 


SALES CONDUCTED BY MR. F. A. CHAPMAN, MR. A. N. BADE AND MR. E. H. L. THOMPSON 


ry 


INTRODUCTION 


HE Haas Collection of Early English drawings might equally well 

have been called the Emile Gross Collection, as about three-quarters 
of it was brought together, in the first decade of the century, by that 
eminent connoisseur of British art. 

Emile Gross had conceived the idea of collecting as many examples 
as he could find of the British School of draughtsmanship of the late 
eighteenth and early nineteenth centuries. His object in so doing was 
probably either to present it to his countrymen, as a monument of English 
art, or merely to gain reputation as a connoisseur for having practically 
cornered the whole of the drawings available on the London market. Be 
this as it may, his precise intentions will never be known, as, early in the 
Great War, he was killed on the Marne at the head of his company of 
Zouaves. 

His brother-in-law, Mr. Xavier Haas, then inherited the bulk of the 
Emile Gross Collection, to which he added his own drawings and which 
he continued to increase up to recent years, either by new purchases or 
by exchanging some of the items forming the collection for works of other 
masters not yet represented in his series. 

In bringing together this highly representative selection of pastels and 
drawings, the two brothers-in-law were, at the very start, strongly advised 
by three of the most eminent experts in British drawings of all times, to 
pay attention to many lesser known masters, who were then gradually 
attracting public notice, and although daily increasing in value, were still 
obtainable at the time without any considerable difficulty. 

These three gentlemen were: Sir Charles Robinson, the Keeper of the 
Queen’s pictures at the South Kensington Museum, the great collector 
Charles Fairfax Murray, and the veteran expert Martin H. Colnaghi. 

Hence the numerous drawings obtained from them or through their 
advice, as will be noticeable in many of the individual pedigrees attached 
to this ‘Catalogue Raisonné’’. 

The writer had on several occasions to give advice to the owners 
of the Gross and Haas collection, as his studies, specialized somewhat in 
this line since the appearance in 1911 of his book on “English Pastels’, 
had naturally induced many owners to seek his opinion on this type of 
works of art. As the technical expert and adviser of the art magazine, 
“The Connoisseur’, he was in a position to see, criticize and value many 
drawings and pastels, and continue the work begun by his first master, 
Martin Henry Colnaghi. 


When the day came that the French owner decided to part with his 
collection, he received on several sides the advice to place it bodily before 
the American public at The Anderson Galleries, thus affording the 
amateurs of the New World a remarkable opportunity to become acquainted 
with a type of works of art hardly seen outside England. 


Hence this momentous Sale. Momentous, indeed, as no such numerous 
and representative series has yet been put on the market either in Europe 
or in America. 7 


A number of lots will appeal to any collector of discrimination; others 
are of particular interest to specialists of Shakespeariana, of the stage 
and of the drama; others again will be highly appreciated by book collectors, 
who will have the opportunity to extra-illustrate their copies with the 
original drawings for the plates and vignettes. Practically every drawing 
in the sale could be used by those in search of decorative work to adorn 
their mansions or cottages in the Colonial or Early English styles. 

They also give an opportunity to museums large and small, wishing 
to acquire signed or typical works by well known or lesser known masters, 
if only for study or for future comparisons. 

In one word, a collection of world-wide interest and of unique artistic 
and educational value. | 
R. R. M. SEE 

Paris, France 
November, 1926 


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SALE THURSDAY EVENING, JANUARY THIRTEENTH, AT EIGHT-FIFTEEN 


FIRST SESSION 


NUMBERS 1-179 


J. S. ALPENNY 


J. S. Alpenny executed many slight but elegant drawings, heightened in 
water colour, at the beginning of the nineteenth century. From his house 
in Kew he sent many pictures to the Royal Academy and to the Suffolk 
_ Street Exhibition between 1825 and 1853. 


1 PORTRAIT OF A LADY 


This portrait is a bust to the waist. The lady is dressed in the 
décolleté dress of the period of 1830. A piece of blue muslin is tied 
round the neck. She is looking to the front; she has grey eyes and 
arched brows, and a smiling mouth. 

The dress is only sketched in, by pencil; the face is slightly coloured. 


_ Pencil and water colours on paper. Size, 61% x 514, inches. 
Inscribed in the right hand bottom corner, ‘Sketched by J. S. 


Alpenny, 16th May 1831”. 


JAMES ALVES 
1732-1808 


James Alves, a London artist, executed many pictures and small portraits 
im crayon and pastel during his long career, dying in his seventy-sixth year 
at Inverness in 1808. 


2 PORTRAIT OF A LADY 


Ao - 


Three-quarter length portrait of a lady, seated with body facing 
three-quarters to the right; the arms and hands are folded. She is 
dressed in a yellowish-green bodice, with white skirt, and has a white 
lace fichu, V-shaped at the neck. The face is three-quarters to the 
right, looking front. It is rather thin and delicate, but very refined. 
She has bluish eyes, and well marked eyebrows and nose. Her mouth 
is delicate. A wealth of white-powdered hair is seen under her large 
white lingerie hat, with blue silk ribbon. 
Plain buff background. 
Pastel on paper. Size, 1134, x 10 inches. 
Exhibited at The British Drawings Exhibition, 1920. No. 1. 
Braithwaite Wilson Collection. 
Ernest Renton Collection. 
“A typical work of this interesting artist.” 

[SEE ILLUSTRATION ] 


] 


FRANCESCO BARTOLOZZI 
1725-1815 
We rank Bartolozzi among the English artists, as he lived nearly forty 
years in England. He was appointed engraver to the King, and was even 
elected a member of the Royal Academy, not as a foreign associate, but as 
a full Academician. 


3 DECORATIVE COMPOSITION 
Inscribed on the top, “Aux Graces Aux Talens.” It is evidently. the, 
title-page for three sonatas, composed by the celebrated musician 
J. L. Dussek. | | a 
The middle figure is holding a lyre—seated on clouds, in the centre of, 
the composition. | Ais 
Pen and ink drawing, washed with Indian ink, on paper. Size, 
1014 x 7% inches. | 
An important composition. 


LADY DIANA BEAUCLERK 

1734-1808 

The works of Lady Diana Beauclerk, the well known amateur and friend 
of Walpole, whose long life covered the whole of the second half of the 
eighteenth century, are most interesting. Probably her best known draw- 
ings are those of her two daughters in the characters of “L’ Allegro” and 
“Tl Penseroso”’, as they were engraved by Bartolozzi and thus attained a 
widespread fame. | 


4 MATERNAL LOVE 
Full length. On the left is seated, facing right, a fair-haired woman. 
Her left foot is advanced to the right; her two arms are held out to 
the right, while she holds in her hands the hands of the baby. Long 
déshabillé dress, décolleté, with high. waist, short sleeves and small 
bows of ribbon down the front; blue scarf. Head in profile, right, 
looking at the baby. Earrings. Fair hair dressed in bun on crown 
of head with fringe on forehead. Bracelet on right wrist. 
In the centre, facing three-quarters to the right, is a dark-haired 
woman, seated, holding on her lap a naked baby, his feet in her 
right hand and his back supported by her left arm. Long full dress 
—a night dress probably, open at the neck. Face three-quarters to 
the right. Dark curly hair low on forehead and with long curls on 
either shoulder. 
Black and red pencil touched in water colour, on paper. Size, 
1514, x 12 inches. 
Exhibited at ‘Les Dessinateurs Anglais’, Paris, 1919. No. 2; “Les 
Enfants Anglais”, Paris, 1922; “L’Enfant Choyé”. No. 1. 
Ernest Renton Collection. 


Pee 


‘ 


SIR WILLIAM BEECHEY, R. A. 
1753-1839 


Sir William Beechey, the English portrait painter, was born in 1753 at 
Burford in Oxfordshire. In early life he was placed with a solicitor at 
Stow, but becoming acquainted with some of the painters of the day, he 
took a fancy to art, and began the practice of portrait painting. In this 
he distinguished himself so much that he was patronized by George III, 
was made portrait painter to Queen Charlotte, and lived much at Windsor 
as instructor to the princesses, who entertained the strongest regard for 
him to the end of his life. He was elected an associate of the Royal 


Academy in 1793, and an Academician in 1798. 


He sent no less than 362 portraits to the exhibitions of the Royal 


Academy. The portraits of Sir William Beechey are celebrated for their 


truth to nature, and for the freshness of colour which they still retain. 


SIR WILLIAM BEECHEY, R. A. 
1753-1839 


5 PORTRAIT OF A LADY: MRS. CRAWFORD 
Bust facing front. Mrs. Crawford holds her head inclined to the 
left, with her right hand to the cheek. Face three-quarters to the 
left, looking front. Brown curly hair covered by a white veil, which 
is tied under the chin and hangs down in front. 
Water colour on paper. Oval. Size, 21% x 15% inches. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No.5; Zurich, 1920. 
No. 5. 
Charles Newton Robinson Collection. 
“A charming miniature portrait, full of a wistful tenderness.” 


SIR WILLIAM BEECHEY, R. A. 
1753-1839 


6 THE YOUNG GIRL AT THE HARPSICHORD 
Three-quarter length, facing left. The young girl is shown with her 
left hand resting on the keyboard of a harpsichord. She wears a 
white dress, low-necked and short-sleeved, with a broad blue sash 


f 3O- tied at the back. Her head is turned front, almost full face. Round 


childish features, with large blue eyes. Curly golden hair cut in 
fringe over forehead. Large-brimmed hat trimmed with feathers. 
Pencil tinted in water colour on paper. Size, 5% x 8V% inches. 
Exhibited at ‘‘Les Maitres Anglais”, Paris, 1919. No. 6; “Les En- 
fants Anglais”, Paris, 1922. No. 4. 

Geoffrey Whitehead Collection. 

Martin H. Colnaghi Collection. 


[SEE ILLUSTRATION ] 


3 


Yigy 


SIR WILLIAM BEECHEY, R. A. 
1753-1839 


CHILDREN GATHERING PEARS 

In the centre, facing right, full length, a small boy. He wears a 
tight short jacket with buttons down the front, a wide frilled collar 
and ruffles at the wrists, short trousers, white socks and strapped 
shoes. 

On the left, seated on the ground is an older child, a girl, who rests 
on her left elbow and holds her hat with her right hand. 

Pencil tinted in water colour on paper. Size, T32 x 51% inches. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 7; “Les En- 
fants Anglais’, Paris, 1922. No. 3. 

C. Johnson Collection. 


[SEE ILLUSTRATION | 


SIR WILLIAM BEECHEY, R. A. 

1753-1839 
SKETCH OF A LADY | 
The lady is seated facing front, the right hand resting on the right 
arm of a chair and the left elbow on the left arm of the chair. She 
holds with her left hand a white wrap, over her knees and over the 
left arm of the chair. Red high-waisted dress with short puffed 
sleeves and very low décolleté; white sash. Head three-quarters to 
the left, looking left. Hair in small curls bound with ribbon. 
Water colour on paper. Size, 334, x 31% inches. 
Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 3; Zurich, 
1920. No. 3. 
Charles Newton Robinson Collection. 


SIR WILLIAM BEECHEY, R. A. 

1753-1839 
PORTRAIT OF A LADY 
Bust facing front, leaning slightly to left. The lady is seated and 
wears a white dress, short puffed sleeves, high waist, low décolleté. 
Oval face, full front, delicate complexion, small mouth, straight nose, 
dark eyes. Black hair parted in the middle, dressed in a double knot 
on top of the head and in smooth curls over each temple. 
Water colour on paper. Size, 334, x 31% inches. 
Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 4; Zurich, 
L920 DEN Gaels 
Charles Newton Robinson Collection. 


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[6 


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[10] 


MARY BENWELL 
(AFTERWARDS MRS. CODE) 
1739-1800 


This first-rate artist became well known at the end of the eighteenth cen- 
tury, as a “miniature pastel” painter; she also executed a few pictures in 
oil. She exhibited many portraits of well known Society people of her time 
at the Royal Academy. 


10 PORTRAIT OF A LADY 
A small drawing of a young lady, half length, seated in profile to the 
left. Her eyes are dark blue. She has a large straw hat with blue 
ribbon, and frilled white dress, with blue sash, which complete a 
charming ensemble. 
The background, dark grey on the left, is tinted light blue, by subtle 
gradations at the top of the picture. It becomes dark grey again 
on the lower part of the right-hand side of the picture. 
Pencil, water colour and crayon on paper. Size, 434 x 334 inches. 
Bourdier Collection. 
“A charming and perfect little work of art.” 


[SEE ILLUSTRATION ] 


MARY BLACK 
DIED 1814 


The works of Mary Black, the fashionable drawing mistress of the end of 
the eighteenth century and the beginning of the nineteenth, are divided 
into two groups, her drawings in pencil and pen and ink, and her pastels, 
smaller than nature, generally ovals and in profile. 

Her pastel work is distinctly influenced by Cotes, who gave her lessons. 
Her colour is very frank and pure, the flesh having the quality of milk 
and rose purity beloved at that period. They have come to us in a good 
state of conservation, as she ground her colours herself on the Russell 
principle with soft crayons, which have withstood the passage of time with 
success. 


11 PORTRAIT OF A LADY 
Half-length portrait of a lady, the body facing left, nearly in profile. 
Pastel on paper. Oval. Size, 10 x TY inches. 
Exhibited at The British Drawings Exhibition, 1920. No. 7. 
Sir Tollemache Sinclair Collection. 
Ernest Renton Collection. 


[SEE ILLUSTRATION ] 
6 


WILLIAM BRADLEY 
1801-1857 


The drawings of William Bradley are sketches executed either for pictures, 
or notes he took for the same purpose. 


12 LADY IN FANCY DRESS 
Three-quarter length to the knees, of a lady, holding a basin. She 
is nearly full face, looking slightly upwards to the left, and is walk- 
ing towards the right with a veil floating slightly round her. 
Pencil on paper. Oval. Size, 714 x 51% inches. 
ra Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 8; Zurich, 
: 2 yu 1920. No. 6. 
7 —- Sir Charles Turner Collection. 
Ernest Renton Collection. 
“A very charming and typical drawing by the artist.” 


ADAM BUCK 
IRISH SCHOOL, 1770-1833 


Adam Buck is one of the well known Irish artists of the end of the eight- 
eenth and beginning of the nineteenth century, thanks to the thousands of 
engravings, both in black and colour, executed after his charming draw- 
ings. His miniatures on ivory he very often executed in collaboration with 
his brother Frederick Buck, who no doubt helped him from time to time 
with his drawings on paper. The latter can be divided into three chief 
classes, though very often they proceed from a mixture of processes. 
Buck certainly ranks amongst the four or five most accomplished artists 
in this kind of work, typical of the period. He was born in Cork, and prac- 
tised for several years in Dublin. He first exhibited at the Academy in 
1795, and continued working till 1833. He also produced an important 
work on Greek vases, for which he drew and engraved 100 original 


drawings. 


13 PORTRAIT OF A GENTLEMAN 
Small full length, standing on a terrace, facing the right. In a grey 

op frock coat, light grey breeches, white stock, and red waistcoat. Face 

J J three-quarters to the right, looking front; blue eyes, dark curly hair. 
He holds his hat in the left hand, his stick in the right. 
Drawn in wax crayon covered over with water colour, on paper. 
Size, 1534, x 111% inches. 
Signed on the right in full, “Adam Buck 1795 London”. 
Exhibited at “Les Dessinateurs Anglais”, Paris, 1919. No. 8. 
Mrs. Hale Collection, 1912. 
“An important typical example of the master.” 


[SEE ILLUSTRATION ] 
7 


ALBINIA, COUNTESS OF BUCKINGHAMSHIRE 
1738-1816 


A pupil of Sir Joshua, who took great interest in her work and, when she 
practised in oil, would often himself prepare her palette. Apart from the 
larger pastels, among which must be mentioned the portrait of her chil- 
dren and those of her friends, she has left a certain number of water 
colours, one of which we reproduce, representing a lady with her two chil- 
dren, executed with very delicate slight colourings, the drawing being 
sketched in lightly first of all in pencil, but most of the work being finished 
direct in water colour without even tracing everywhere the outlines. It is 
imbued with an extraordinary charm which brings us back to that fragrant 
period. 


14 FAMILY GROUP 
Portrait of Lady Bristol and her two children, seated on a garden 
seat. 
Water colour drawing, slightly worked up in pencil, on paper. Size, 
“sn 9 x 12 inches. 
| Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 11; Zurich, 
1920. No. 7; “Les Enfants Anglais’, Paris, 1922. No. 8. 
Ear! of Bristol Collection. 


H. W. Bunbury is especially known as a caricaturist, though his illustra- 


HENRY WILLIAM BUNBURY 
1750-1811 


tions for Shakespeare and Macklin’s “Poets” are well known through their 
engraving by Bartolozzi. 


15 


*7F "$2 


THE CONNOISSEUR 

Small half length of a lady looking at a picture, with a lorenetees in 
her left hand. The picture hangs from the wall, on the right. | 
Pencil drawing, tinted in water colour, on paper. Size, 314 x 234 
inches. | 
Ernest Renton Collection. 


GEORGE CATTERMOLE 
1800-1868 


George Cattermole, a water colour painter who specialized in historical 
subjects, is too well known to require a long explanation of his achieve- 
ments. 


17 


10 


DRAWING FOR BOOK ILLUSTRATION: THE NOBLEMAN AND 
THE GRAVE DIGGER 

In the centre of a vault, stands the nobleman, hat in hand; dressed 
in breeches, white tunic, red sleeves with leather band across chest. 
In foreground, right, is the grave digger sitting.on the edge of a 
hole from which he has just thrown up a skull. 

Pencil and water colour on paper. Size, 514, x 814, inches. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 13; Zurich, 
1920. 


SKETCH FOR BOOK ILLUSTRATION: BANQUET IN A PALACE 
A low-roofed stone hall with rounded arch at back, in which a ban- 
quet is taking place. The King in scarlet robes is seated on his 
throne on the left, surrounded by his retainers. Seated at a long 
table in the centre are the guests, with in front a man in scarlet and 
a monk in brown. 

India ink and water colour on paper. Size, 414, x 634, inches. 
Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 14; Zurich, 
1920. 


10 


3 
4 
| 
4 


[18] 


CHARLES CHAPMAN 
18TH CENTURY 


Charles Chapman is that pupil of Frank Hayman whose father was the 
eminent comedian, and he had been employed with Hayman in the decora- 
tion of Vauxhall. After this engagement previous art historians have lost 
sight of him and suggest that, falling into indigence, he died about 1770. 


18 PORTRAIT OF A LADY: MADAME VILLEBOIS 

Half length of a lady, seated in a red chair, in a garden. The body 

is facing front; the arms are folded on her lap, showing the hands. 

She has a white dress and a V-shaped fichu of the same hue. The 
4y- face in profile directed to the left. She has light brown eyes, mouth 

slightly open, in a smile. High powdered hair, with blue ribbons. 

Background of trees and landscape. 

Pencil and water colour on paper. Oval. Size, 8 x 614 inches. 

Mrs. Chapman Collection. 

Ernest Renton Collection. 

“A delicate and refined work.” 


[SEE ILLUSTRATION |] 


11 


GEORGE CHINNERY 
1774-1852 


It is now some ten or twelve years since the fashion in George Chinnery’s 
works, and more especially in his pastels, water colours, and gouaches, 
began to develop. The French collectors, as in the case of Constable in the 
nineteenth century, were the first to recognize their merit, and there fol- 
lowed suit their American and British colleagues, who are now no less 
appreciative and desirous of those gems of art which sprang from the m- 
pulsive genius who was so true a child of the land of his birth, Erin. 


These gouaches show a tendency to become increasingly valuable—a fact 
which has led to the discovery of one example after another, in the same 
way as the small but charming works of Gardner have been rediscovered 
after a century of neglect and oblivion. I have no doubt whatever that 
Chinnery will be one of the néxt artists to be “boomed” in the world of art; 
but leaving commercial considerations, whether of to-day or to-morrow, 
entirely on one side, and judging the matter purely from the artistic point 
of view, the recognition bestowed upon his merit is fully justified. Hes a 
great artist—at any rate so far as his gouaches are concerned. The man 
who, at the English Pastel Exhibition of 1911, was named by enthusiastic 
admirers of the two works exhibited on that occasion the “Frans Hals of 
the Irish school’, was well termed by one of the greatest of French art 
critics, Arséne Alexandre, “le suave et sauvage Irlandais’, while by others 
he was given the name of the “Hibernian Whistler’. These flattering ept- 
thets were especially applied to the author of these firm outlines, these 
symphonies in white, grey, and blue, executed in that extraordinary 
medium which, for convenience, was termed “gouache”, though in reality 
a composite mixture, and not gouache pure and simple. 


This eccentric wanderer on the face of the earth, this utterly original 
but ever genial figure, is one of the most attractive personalities that one 
could possibly study. The succinct account of his life given by W. G. Strick- 
land in “The Dictionary of Irish Artists’, the most important work yet 
published on the subject of Irish art, is correct in substance, though 
necessarily condensed and by no means complete. 


Chinnery executed his gouaches from his earliest up to his latest period 
in London, Ireland, Calais, India, China, and Macao. He maintained prac- 
tically throughout his breadth of treatment, though he tended in his oils to 
tighten his technique as time went on. The miniaturist, who had begun 
with experiments on such broad lines as the “Lady Tuite” of the Victoria 
and Albert Museum, remained to the end the man whose manner, accord- 
ing to a contemporary writer, “possesses a peculiarity which would enable 
one anywhere to distinguish his work.” 

As Mr. Strickland writes with so much wisdom, “his portraits often mas- 
querade as Romneys, Raeburns, or Hoppners’’. 


12, 


19 


20 


21 


GEORGE CHINNERY 
1774-1852 


THE CHINESE BARBER 

Seated on a three-legged stool, with his back to the artist, is the 
customer—a Chinaman in a yellow jacket. Standing in front of him 
and holding his head with one hand while he shaves his chin with 
the razor in his right hand, is the Chinese barber, in a green jacket. 
On the left, a stand with the barber’s basin. 

Pencil sketch, tinted in water colour, on paper. Size, 2%, x 21% inches 
From the Chinnery Chinese Sketch Book. No. 2. 

Purchased for Mr. Emile Gross in China by My. R. R. M. Sée. 


GEORGE CHINNERY 
1774-1852 


THE CHINESE BARBER 

The barber is standing on the right shaving a Chinaman, who is 
seated in the centre on a stool with his back turned three-quarters 
to the front. The barber has a white smock, breeches to the knees, 
and slippers with large rosettes. The customer, whose pigtail hangs 
down his back, has a red jacket. On the left is the barber’s stand, 
with his basin and a towel. 

Pencil drawing, tinted in water colour, on paper. Size, 2% x 214 
inches. 

From the Chinnery Chinese Sketch Book. No. 2. . 

Purchased for Mr. Emile Gross in China by Mr. R. R. M. Sée. 


GEORGE CHINNERY 
1774-1852 


PORTRAIT OF A LADY WITH A WHITE FICHU 

Three-quarters portrait, facing left. The lady is seated and wears 
a red dress with a full skirt and short sleeves; round the neck a 
broad white fichu. The head faces three-quarters to the left. The 
face appears, as is often the case with Chinnery’s work, to have been 
done with a few strokes of the brush, but the expression and the 
complexion are there. 

Wash background. 

Gouache and pencil on paper. Size, 734, x 73 inches. 

Exhibited at “Les Dessinateurs Anglais’, Paris, 1919. No. 11; ‘Les 
Jolies Anglaises du XVIII° Siécle’’, Paris, 1914. No. 8. 


13 


GEORGE CHINNERY 
1774-1852 


22 LADY WITH BROWN MANTLE AND WHITE BONNET 


aod | 


The young lady is shown three-quarter length, facing front. She 
wears a high-waisted dress with a square neck and a dark sash, over 
which there is a brown coat. The head is full face. A young and — 
very attractive oval face, with red lips and beautiful violet eyes. On 
her dark wavy hair is a small white bonnet. 

Wash background. : 

Irish period. 

Gouache and pencil on paper. Size, 115% x 514 inches. 

Exhibited at “Les Jolies Anglaises du XVIII¢ Siécle’, Paris, 1914. 
No. 7. 

“A lovely girl, and a perfect work of art.” 


[SEE ILLUSTRATION | 


GEORGE CHINNERY 


ay 1774-1852 
(73, 


Bist facing front. A young European lady in a bright yellow kimono 
with blue border and blue sash; red coral necklace. She has scarlet 
lips, pink cheeks and large blue eyes. Her beautiful oval face is 
crowned by soft brown hair. 

Portrait of a lady in Macao. 

Dark wash background. 

Gouache on paper. Size, 115% x 814, inehes. 

Inscription by artist in bottom left corner—a Chinese ideogram. 
Exhibited at ‘Les Maitres Anglais’, Paris, 1919. No. 28. 

From the Chinnery Chinese Sketch Book. 

Purchased for Mr. Emile Gross by Mr. R. R. M. Sée, 1913. 

“Fine gouache in perfect state of preservation.” 


[SEE ILLUSTRATION | 
14 


[23] 


Ve 


Jy 


GEORGE CHINNERY 
1774-1852 


24 CHINESE BEAUTIES 


25 


Three sketches. In top left corner, head profile, right, of a young 
Chinese girl; reddish dress. The girl is looking down; she has a 
pleasant round face, and her hair is dressed in a knot on the top of 
her head, in which are two Chinese hairpins. 

In bottom left corner, a pencil sketch of a young Chinese girl turned 
left and looking from over her shoulder, holding in her right hand a 
large fan. 

On the right, a beautiful Chinese girl in a blue dress. Her face, 
three-quarters to the left, is rather proud looking, and except for 
the almond-shaped eyes, is of a European type rather than Chinese. 
Her dark blue black hair is dressed in a knot on the top of her head, 
and is held in place by large Chinese pins. 

Pencil and gouache on paper. Size, 8% x 1154 inches. 

Inscribed in top left corner with Chinese word, and in top centre, 
‘“Juigi 1839”, by the artist. 

Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 26. 

From the Chinnery Chinese Sketch Book. 

The gouache chemical alteration on the face of right-hand figure 
can easily be cleaned by a careful application of a little peroxide of 
hydrogen. 


GEORGE CHINNERY 
1774-1852 

CHINESE STUDIES 
On the left, a bust facing front of a young Chinese beauty. Mauve 
dress, high cheek bones, small scarlet mouth, dark eyes slanting up 
to the temples. Dark black hair in a knot on the top of the head, 
with four large Chinese pins. 
On the right in the background a small group of three Chinamen, 
two seated on their heels, one in a red kimono, and the other in 
yellow. The man standing hag a mauve kimono. They would seem 
to be engaged in some cooking operation. 
On the top right, some illegible scribbling. On the right bottom, a 
Square divided into nine compartments and inscribed with three 
words. 
Gouache drawing on paper. Size, TV, x 634, inches. 
Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 25. 
From the Chinnery Chinese Sketch Book. 
“A typical work of that period of the artist’s life.” 


[SEE ILLUSTRATION] 
16 


~~) 
~~ 


GEORGE CHINNERY 
1774-1852 


26 THE LADY WITH THE WHITE BONNET AND THE BLUE SASH 


27 


Three-quarter size portrait of a lady seated facing three-quarters to 
the left. She wears a white dress, open at the neck, with sleeves to the 
elbow, and a blue sash. Her right hand rests on the back of the 
seat, and her left arm lies on her lap. 

Her face is shown three-quarters to the left. She has a beautiful 
wild-rose complexion, a smooth delicately rounded face, and grey- 
green eyes. Her fair hair falls on her shoulders, and is covered 
partly by a veil which falls down her back. 

Background of sky and clouds. | 

Gouache and pencil on paper. Size, 104% x 61%, inches. 

Inscribed in pencil in the top left corner, ‘““WCD”. 


“A splendid drawing of the Irish period.” 


[SEE ILLUSTRATION | 


GEORGE CHINNERY 
1774-1852 
PORTRAIT OF A LADY 
Three-quarter size portrait, facing front. The lady is seated; her 
right elbow rests on a table and her left hand lies in her lap. She 
has a most elaborate dress with a tight waist, sleeves puffed out to 
the elbow and then tight to the wrist, round which there is a decora- 
tive band, a large bow almost at the waist. A large collar forming 
a cape, tied with a ribbon in a bow and fastened with a Maltese 
cross—a long-pointed white collar and a necklace of some large 
stones. 
Except the head and the white collar, the drawing is in pen and ink; 
the head and collar are in gouache and water colour, on paper. Size, 
1114 x 954 inches. 
Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 21; Zurich, 
19207 =Noz LE 
James Chinnery Collection. 
“A beautiful head and a most interesting example of Chinnery’s 
method of work. Despite his broad easy effects as shown in the head, 
he worked patiently at the details of his sketch before laying on the 
colour.” 
[SEE ILLUSTRATION] 


18 


[26] 


- 


vl 


yi 


jf 


28 


GEORGE CHINNERY 
1774-1852 


THREE CHINAMEN GAMBLING 
Seated on the left on a tub seat, facing right, is a Chinaman 


(Malay?) in a blue suit. He is watching a low table in the centre, _ 


on which a second Chinaman, seated in the background, appears to be 
making a move in one of the numerous Chinese gambling games. 
Pencil tinted in water colour on paper. Size, 314, x 4 inches. 

From the Chinnery Chinese Sketch Book. No. 2. 

Purchased for Mr. Emile Gross in China by Mr. R. R. M. Sée. 


GEORGE CHINNERY 
1774-1852 


29 THE CHINESE COOK 


30 


In the foreground, right, is the cook facing three-quarters to the left. 
Bare footed, dressed in a pink suit with a brown sash and a red tur- 
ban, he is busy at his open-air kitchen. He holds the lid of a re- 
ceptacle in his left hand, and with his right stirs the contents of the 
saucepan with a long wooden stick. The range in the centre is a 
long low wooden affair with three or four receptacles, and a fire at 
the left end. 

On the right background are three bamboo poles arranged to hold 
paper lanterns. 

Water colour on paper. Size, 4 x 334, inches. 

From the Chinnery Chinese Sketch Book. No. 2. 

Purchased for Mr. Emile Gross in China by Mr:-R. R. M. See. 


GEORGE CHINNERY 
1774-1852 


THE CHINESE BARBER 

Seated in the centre facing front, on a curious pyramidical stool 
painted yellow, is the customer. A Chinaman dressed in a pale green 
suit, with slippers with turned up toes, he has his left leg crossed 
over the right and clasps his left ankle with the right hand (a most 
European attitude). 


The barber is standing on the right facing left. Dressed in white 


trousers and a red jacket, he is busy arranging his client’s pigtail 
with both hands. 

Pencil tinted in water colour on paper. Size, 45 x 43% inches. 
From the Chinnery Chinese Sketch Book. No. 2. 

Purchased for Mr. Emile Gross in China by Mr. R. R. M. Sée. 


20 


Si 


oo is 


ee Oe ae he 


4 Zo- 


GEORGE CHINNERY 
1774-1852 

CHINAMAN SEATED 
Wearing a pink suit, the Chinaman is seated on a most uncomfort- 
able looking seat, facing front in the centre of the picture. His 
right foot is nearly withdrawn from his slipper, and he has with- 
drawn the left from the slipper altogether—the slipper is left on 
the ground, while the foot is drawn up on to the stool, where the 
Chinaman clasps it with his left hand. 
On the left a stand, on which hangs a large broad-brimmed straw 
hat. On the right a block, on which stands a triangular object from 
which smoke is issuing. 
Sky background. 
Pencil tinted in water colour on paper. Size, 6Vg x 4 inches. 
From the Chinnery Chinese Sketch Book. No. 2. 
Purchased for Mr..Emile Gross in China by Mr. R. R. M. Sée. 


GEORGE CHINNERY 
1774-1852 


LEAF FROM SKETCH BOOK—SKETCHES OF CHINAMEN AND 
COWS 

Top left corner, a young calf facing left, attached to a picket in the 
ground on the left. 

Centre left, a young Chinaman in a pink blouse, to waist. Right 
arm akimbo on hip, while with the left over his head he supports a 
small tub on his right shoulder. 

Bottom left, the same young Chinaman in much the same position 
except that he is shown to the knees, that his right elbow is slightly 
advanced, and his head inclined to the right. 

Centre right, the young calf still facing left, has turned his head and 
is biting his flank on the side further from the artist. ; 
Bottom right, drawn with right-hand edge of paper as base of sketch, 
a Chinaman in a blue jacket and an enormous round flat straw hat, 
driving a cow with its calf. He has his right hand on the croup of 
the calf, which is shown on the left; in his left hand he holds the 
cords attached to the calf and to the cow shown on right foreground. 
Pencil tinted in water colour on paper. Size, 6Ys x 4 inches. 

From the Chinnery Chinese Sketch Book. No. 2. 

Purchased for Mr. Emile Gross*in China by Mr. R. R. M. Sée. 


21 


aI 


LC 


GIOVANNI BATTISTA CIPRIANI, R.A. 
1727-1785 


Cipriani, the Italian engraver and draughtsman, one of the early members 
of the Royal Academy, executed many drawings in black and red chalk. 
Though we include him in the “English School’, as he was a Royal Aca- 
demician, those drawings are really more akin to the “Italian School’. 


33 FEMALE STUDY 
Half length to the waist of a nude a female—a sketch for an alle- 
gorical subject. The arms are folded. She has loose, curly hair. 
Drawing in Italian chalk and red sanguine, on paper. Size, TY x 614 
inches. The paper is shaped in an oval for the final decoration. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 31: Zurich. 
1920. No. 14. 
Braithwaite Wilson Collection. 


JOHN CONDE 
FL. 1785-1800 


Condé is the charming and well known engraver who executed many draw- 
ings, which naturally are strongly influenced by his engraver’s method. 
These drawings are either original compositions by himself, or sometimes 
executed after other artists for the purpose of his engraving. It is thus 
that we have met in collections attributed to Cosway drawings which are 
really the work of Condé. 


34 A GIRL WITH A DOG 
Drawing in pencil, the face tinted in water colour, on paper. Size, 
12 x 714 inches. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 33; “Les 
Enfants Anglais’, Paris, 1922. No. 13. 
Ernest Renton Collection. 


30 LADY COSWAY 

The engraver’s drawing of the well known picture of Lady Cosway 
by herself. 

A full-length portrait of a lady sitting in a garden, with a book 
lying on a bank on the right-hand side. Her hands are clasped 
on her knees. She is wearing an elaborate dress with lace collar, 
and a “picture” hat with ostrich feathers. She is looking front. 
The whole drawing is in lead pencil—the head and face slightly 
washed in water colour—on buff paper. Size, 8% x 534 inches. 


[SEE ILLUSTRATION] 


22 


JOHN CONSTABLE, R.A. 
1776-1837 


John Constable, the great. landscape painter, has a place here as having 
executed some delightful. diawings. of figures, a few examples of which 
come direct from his family. He sketched in his subject with pen and.ink, 
executing a wonderful background direct in water colour; this is a remark- 
able experiment by the master, sust. as are his pencil drawings executed in 
lead or in wax pencil. 

A very interesting drawing: of a head was reproduced in the book on 
“English Pastels” (R. R. M. Sée: Geo. Bell & Sons, Ltd.). Art lovers for- 
get too often that before beginning to paint and sketch, the artist tried his 
hand at many portraits, both vn oils and pastel. 

The finest type of drawings of this master are valuable works of art, 
and are very rarely to be met with. 


+ 36, LADY SEATED 
- -  Fulllength. The subject is seated facing tree quarters to the right. 
: .: Full dress, with long lace. pantalons showing under skirt. High 
_-- waisted, low square neck,,elbow-length sleeves. White stockings and 
~~ low black slippers with bows.) :The right hand rests on the seat, while 

mi? the left lies in the Jap. © 

74 ee ‘hos Head three-quarters to the right, nearly profile. Young rounded 
| face; hair dressed high in chignon on the top of the head, with small 
curls on temples. She is seated on a rustic seat shown on left. 
Pencil on paper. Size, 714, x 434 inches. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 38; Zurich, 
1920. No. 17. 
Fairfax Murray Collection. 


37 LADY SEATED IN AN ARMCHAIR 

Full length, seated three-quarters to the right. Long full dress, with 

high waist, low neck, and long sleeves full at the elbow. The right 

elbow rests on the arm of the chair, while the left hand holds the 
SE eins of the chair on the right. 

Head front, looking right. Small face, with small mouth and large 

dark eyes. Hair dressed smoothly into one large curl over the 

forehead. 

Armchair with straight embroidered back and curved armrests. 

Shaded background. 

Pencil on paper. Size, 64 x 414, inches. 

Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 37; Zurich, 

1920. No. 16. 

Fairfax Murray Collection. 


2o- 


JOHN SINGLETON COPLEY 
1737-1815 


The American artist Copley was born at Boston. Massachusetts was then 
a British colony, and his parents were Irish; furthermore he was an 
English R.A. 

Copley lost his father the year of his birth, and probably learned the ee 
principles of his art from his stepfather, Peter Pelham; but this painter 
and engraver died also when John was fourteen. He painted portraits of 
many distinguished people in Boston, and in 1774 set out for London, where 


he was to finish his career. He travelled in Italy, and studied in Parma 


and Rome. From 1768 to 1812 he exhibited at the Royal Academy, the 
British Institution and the Society of Artists, and became a Bais of the 
first-named society in 1779. ) 


38 PORTRAIT OF A GENTLEMAN | | 
Bust facing three-quarters to the right. The sitter wears a dark 
coat with a short collar and long lapels, open over a canary waistcoat 
with lapels and a white stock. He is seated in a chair and rests his 
right elbow on the edge of a table, while his right hand is plunged 
into his waistcoat. The head is turned slightly right—a fine clear- 
complexioned face with a humorous twist to the lips, a rather sensual 
nose, and pale blue eyes flecked with green. Clean shaven. High 


broad forehead, white hair brushed back and cut short at the collar.. 


Dark background, with greenish shadow on right of sitter’s face. 
Pastel on dark paper. Size, 1334, x 1134 inches. 

Signed in right bottom corner, “J S Copley”’. 

Braithwaite Wilson Collection. 

Lord Amherst of Hackney Collection. 

Charles Sedelmeyer Collection. 


39 PORTRAIT OF A LADY 
Bust facing three-quarters to the left. White dress, over which is 
a black cloak with black lace collar thrown open at the neck. Head 
faces front. The face has kept its purity of outline and the firmness 
of its mouth, but the flesh sags a little under the eyes—the eyes of 
a woman of fifty. Snow-white hair curled and puffed out to frame 
the face. A white bonnet with a pink ribbon. 
Dark shaded background. 
Pastel on paper. Size, 914, x 714, inches. 
Signed at left centre, “John Singleton Copley’’. 
Braithwaite Wilson Collection. 
Lord Amherst of Hackney Collection. 
Charles Sedelmeyer Collection. 


24 


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JOHN SINGLETON COPLEY 
1737-1815 


$ PORTRAIT OF A GENTLEMAN 
Head and shoulders three-quarters to the right. Dark straight- 
- fronted coat with wide collar and large buttons, open over a straight- 


fronted waistcoat of the same material and a white stock. 


- Head three-quarters to the right. Clean-shaven face; reddish com- 
» plexion; large blue, somewhat protuberant eyes; strongly marked 


‘“aughter-loving” wrinkle running from the nose to the corner of 
the mouth. Full white wig. 

Dark shaded background. 

Pastel on paper. Size, 9 x 73 wmches. 

Signed in bottom right corner, “J. S. Copley”’. 

Braithwaite Wilson Collection. 

Lord Amherst of Hackney Collection. 

Charles Sedelmeyer Collection. 


[SEE ILLUSTRATION ] 


JOHN SINGLETON COPLEY 
1737-1815 


PORTRAIT OF A YOUNG BOY 

VERSO: PORTRAIT OF AN OLD LADY 

The boy is seated facing three-quarters to the left and is portrayed 
to the knees. He wears a yellow jacket with long tight sleeves, cut 
away in front, over a light-coloured waistcoat, a white ruffed collar 
and white lace ruffles at the wrists. In his right hand ne holds a 
battledore on his knee and in his left hand a book. 

Background: on the left a pillar; on the right, a wainscotted wall. 
Verso. Bust of old lady facing front. White corsage, grey wrap. 
Full face with short snub nose and blue eyes. White hair dressed 
elaborately and powdered, with large roll at the nape of the neck, 


under a large light-coloured bonnet with crimped edge and tied with 
broad ribbon. 


Dark shaded oval background. 

Medium for both pictures, pencil and pastel on buff paper. Size: 
recto, T14 x 6 inches; verso, 7x 7 inches. 

Signed on recto in centre on wall opposite boy’s right elbow, “John 
Singleton Copley 1781’. | 

Braithwaite Wilson Collection. 

Lord Amherst of Hackney Collection. 

Charles Sedelmeyer Collection. 


[SEE ILLUSTRATION] 
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JOHN SINGLETON COPLEY 
1737-1815 


PORTRAIT OF A GENTLEMAN 

Bust facing three-quarters to the right. Sage-green coat, wide 
straight collar, long straight front, three large buttons, over green 
waistcoat and white stock. Face three-quarters to the right; brick- 
red complexion, clean shaven, bright blue eyes, high forehead, white 
wig. 

Pastel on buff paper. Size, 11 x 85% inches. 

Signed in bottom right corner, “J S Copley’. In the bottom left 
corner, an illegible inscription in Copley’s handwriting—perhaps the 
name of the sitter. 

Braithwaite Wilson Collection. 

Lord Amherst of Hackney Collection. 

Charles Sedelmeyer Collection. 


[SEE ILLUSTRATION | 


MARIA COSWAY 
1759-1838 


What we say about Cosway in the next notice applies equally to his wife, 
Maria Hadfield, who became Maria Cosway, the great friend of Angelica 
Kauffmann and so many other members of the smart set of the period. 
Dr. Williamson has given plenty of space to Maria Cosway in his book on 
Richard Cosway. 


43 


ft 


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PORTRAIT OF LADY LANGFORD 

Half length, the body nearly to the front, slightly turned to the left; 
the head in profile to the left. She has a charmingly delicate com- 
plexion, and greyish-blue eyes. Her curly, powdered hair is tied 
with a blue ribbon. | 

The dress is only sketched in and marked by a blue sash. A delicate, 
high collar surrounds the charming neck of this lovely sitter. 

The face is the only finished part of the drawing, executed in pencil 
and very elegantly washed over in the fleshy part. 

On paper. Size, 814 x 5% inches. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 48; Zurich, 
1920. No. 21. 

Geoffrey Whitehead Collection. 

Fairfax Murray Collection. 

“A most perfect and representative work.” 


28 


44 


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45 


[44] [45] 


RICHARD COSWAY, R.A. 
1740-1821 


The life and work of Richard Cosway were thoroughly studied in the im- 
portant work by Dr. George C. Williamson published by Geo. Bell & Sons, 
Ltd. in 1897, and the students of art who wish for more than a cursory 
survey of the drawings of that delightful master will find there every 
available detail and accurate fact. 


PORTRAIT OF A LADY AS JUNO WITH HER PEACOCK 
Stained drawing, pencil and water colour on paper. Size, 1134, x T%¥% 
inches. 

Signature (extremely pompous!): ‘“‘Richardus Cosway R.A., F.S.A. 
primarius pictor serenissimi Wallios Principi fecit Londoni anno 
1806”. 

Exhibited at “Les Maitres Anglais’, Paris, 1919; Zurich, 1920. No. 
a. 

Robert Fulton Collection. 


PORTRAIT OF MRS. TICKELL 

Nearly all water colour done with a fine sable brush, with a few 
details left in pencil, on paper. Size, 914, x TY inches. 

Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 52; Zurich, 
1920. No. 24. 

Sir Charles Robinson Collection. 

Ernest Renton Collection. 


29 


46 


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[47] [46] 


RICHARD COSWAY, R.A. 
1740-1821 


PORTRAIT OF A LADY WITH FAN 
A full-length portrait. The lady, turned to the left, holds in her 


left hand the front of her dress, which by its fulness and the length 
of its train would need a certain management. In her right hand she 


holds a curious fan, a bunch of white ostrich feathers on a long green 
handle. 

The lady stands on a terrace and is about to descend a flight of stone 
steps, which form the background, together with trees and open sky. 
Stained drawing, pencil and water colour on paper. Size, 914, x 514 
inches. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 53. 

Ernest Renton Collection. 

Lord Amherst of Hackney Collection. 

“The finest quality of the master.” 


DRAWING IN WATER COLOUR OF LADY TOWNSHEND AND 
CUPID 

Pencil with flesh tints in water colours on paper. Size, 9 x 5% 
inches. 

Exhibited at “‘Les Maitres Anglais’, Paris, 1919. No. 54. 

The Marquess Townshend Collection. 


30 


FRANCIS COTES, R.A. 
1726-1770 


Francis Cotes has justly been termed the father of English pastellists, 
though Knapton, Fry, Hoare and Riley preceded him in point of time. 
Certain of his pastels show immense merit. He is the first of our pastel- 
lists to obtain that lightness and luminosity, that crispness so particular 
to the eighteenth century pastellists, coming direct from Rosalba Carriera, 
the forerunner of the great pastellists of all schools in the eighteenth 
century. 

Cotes has left many water colour drawings of very great charm. These 
were practically all for his own use. The miniatures he made for his 
patrons were usually on ivory and outside our subject. Moreover, these 
were often executed by his brother Samuel, who closely imitated him with- 
out attaining his greatness. In his water colour drawings he is very deli- 
cate, very exact. We have a delightful example of that work in the por- 
trait of a lady, nearly full face, delicately sketched in in pencil and exe- 
cuted in water colour, having a steel-blue dress and a lilac coat edged with 
fur; this has quite the power of a larger work. 


48 PORTRAIT OF A LADY | 
Small oval bust of a lady, turned to the left, wearing blue, décollete 
dress. The head is three-quarters to the left, looking to the front. 
She has brown hair with blue ribbon. ; 

* foo Plain background, shaded on the left. . 

ry She is most probably a member of the Townshend family. 

A charming tiny miniature drawing, entirely drawn with the brush 
in water colour, on paper. Size, 1% x 15% inches. 
Exhibited at ‘Les Maitres Anglais’, Paris, 1919. No. 57; Zurich, 
1920. No. 25. 
Marquess Townshend Collection. 


49 PORTRAIT OF A LADY 

Half length of a lady in blue dress, white sash, and purple cloak 

framed with white fur. Full face, looking slightly down to the front. 
J fo Brownish hair. 

Plain grey background. 

The drawing is of pencil entirely tinted over with water colour, on 

paper. Oval. Size, 63% x 514, inches. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 58; Zurich, 

1920. No. 26. 

Sidney Cooper, R.A., Collection. 

“A very delicate work.” 


dL 


SAMUEL COTES 
1734-1818 


Samuel Cotes, the brother of the previously mentioned artist, was his pupil 
and direct imitator. He was a member of the Incorporated Society of 
Artists. He exhibited miniatures at the second Royal Academy m 1769, 
and continued an occasional exhibitor. 


50 SMALL SKETCH FOR A FINISHED PICTURE 
Pencil and water colour drawing on paper. Size, 2 x 11/8 inches. 


{© Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 56. 


“A charming little sketch for a portrait.” 


[51] 


WILLIAM COWDEN 
18TH CENTURY 


William Cowden is a little-known artist (his name does not appear in any 
of the current dictionaries of art) who executed small oval paintings in the 
second half of the eighteenth century, and whose name deserves to be 
brought out of oblivion. 


51 PORTRAIT OF REBECCA, COUNTESS HARCOURT 
Pastel on paper. Oval. Size, 11x 814 inches. 
Fully signed on the right, ‘““W. Cowden, delint 1779.” 
Exhibited at The British Drawings Exhibition. No. 14. 
Ernest Renton Collection. 
“A very interesting picture for further identification of this artist’s 
work.” 


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EDMUND FRANCIS CUNNINGHAM 
1742-1795 


Edmund Francis Cunningham was a distinguished Scotch portraitist 
who has left us some pastels of great importance. He lived on the Conti- 
nent for some time, principally in France. 


EDMUND FRANCIS CUNNINGHAM 
1742-1795 


52 A MUSICAL PARTY 

An important composition of four figures. 

A most important and delightful drawing in water colour and wash, 

with a stippled background. 

vf Large oval drawing on parchment paper. Size, 1114 x 1514 inches. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 61; Zurich, 
1920. No. 20. 
Sir Tollemache Sinclair Collection. 
Martin H. Colnaghi Collection. 


[SEE ILLUSTRATION ] 


GEORGE CRUIKSHANK 
1792-1878 


This well-known caricaturist has another side to his artistic life, less 
known, but which must not be overlooked. His water colour portrait paint- 
ing, indeed, is remarkable; he also tried oil painting in his later years, but 
his grotesque humour made him apply to the art his gift of caricature, and. 
naturally he was not very successful with his sitters. . 

He painted the portraits of many members of society, but it is only in his 
later years, when he came to be associated with the people of the Temper- 
ance League, that he executed those coloured heads of his friends, the mem- 
bers of the League. One of the best known of these was the Hon. Frederick 
Shaw, a leading member of the Temperance movement in England at that 
time. These water colours are executed with all the facility which exem- 
plified the “caricature” work of the artist. They are done directly with a 
brush on paper, without even tracing in pencil beforehand. 

His portraits are pleasant and forceful, and, apart from their other 
merits, are quite rare, from the collector’s point of view. 


[53] 


GEORGE CRUIKSHANK 
1792-1878 


538 PORTRAIT OF THE RIGHT HON. FREDERICK SHAW 
One of Cruikshank’s intimate friends and a leader of the Temperance 
movement. 


Water colour on paper. Size, 85/16 x 61% inches. 
[SEE ILLUSTRATION | 
34 


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GEORGE DANCE, R.A. 
1740-1825 


George Dance is one of the best known draughtsmen of the eighteenth cen- 
tury and the beginning of the nineteenth. He seems to have executed the 
portraits of most people of his time. Though they are very often signed and 
dated, this is not an invariable rule. 


PORTRAIT OF A GENTLEMAN 

Bust facing left. Coat with high collar and pointed lapel; white 
jabot tied in flowing knot in front. Head in profile of an authorita- 
tive-looking man, clean shaven, tight lipped, with a long nose and 
overhanging brows. Own hair dressed back from forehead and tied 
in pigtail at back with a black ribbon. 

Pencil drawing on paper. Size, 914 x 714 inches. 

Signed in bottom right corner, “Geo Dance Nov. 11th. 1797.” 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 65. 

Charles Newton Robinson Collection. 


PORTRAIT OF A LADY SEATED AT A TABLE 

Three-quarter length, facing left in chair which is turned to left; 
round table in foreground, on which is a glass tumbler. 

Pencil drawing on paper. Size, 814, x 7 inches. 

Signed in bottom right corner, ““G. D. East Molesey (illegible) Sept. 
6. 1819.” 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 64. 

Charles Newton Robinson Collection. 


PORTRAIT OF A GENTLEMAN 

Bust facing left. Straight-fronted coat with wide collar; high stock. 
The profile shows a young man with a snub nose and more than 
inclined to be stout, with a modish wig dressed in large rolls over 
the ears and tied by a black ribbon in a pigtail at the back. 

Pencil drawing on paper. Size, 8%% x T1% inches. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 63. 

Charles Newton Robinson Collection. 


30 


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GEORGE DANCE, R.A. 
1740-1825 


PORTRAIT OF A LADY, IN PROFILE 

Bust facing left, showing a handsome young lady dressed in the 
height of fashion: a bodice with a wide white lace collar. 

Pencil and water colours on paper. Oval. Size, 6144 x 51% inches. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 62. 

Ernest Renton Collection. 


[SEE ILLUSTRATION ] 


PORTRAIT OF CHARLES KYNOCK 

Bust facing left. Dark double-breasted coat with large lapels; white 
stock loosely tied in bow. A masterful face in profile, with strong 
mouth and chin; hair brushed back and tied in knot at back with 
black ribbon. 

Pencil drawing on paper. Size, 10 x 714 inches. 

Signed in bottom left corner, “Geo Dance March 23d. 1799”. 
Charles Newton Robinson Collection. 


[SEE ILLUSTRATION ] 
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GEORGE DANCE, R.A. 
1740-1825 


PORTRAIT OF FRANCIS NEWBURG 

Bust facing left,.seated in straight-backed chair. Coat with wide 
collar and pointed lapel; double-breasted striped waistcoat and white 
necktie. : wi: 
Pencil drawing on paper, complexion tinted water colour. Size, 
10 x 714 inches. « — 

Signed in bottom left corner, ‘““Geo Dance March 3d 1789”. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 70. 

Charles Newton Robinson Collection. 


PORTRAIT OF THE REVD. HUDDISFORTH [GEORGE 
HUDDESFORD] AUTHOR & EDITOR OF “SALMAGUNDI’” 
Head and shoulders facing left. Ecclesiastical garment with high 
roll collar and small pointed hood. A fine head in profile, with power- 
ful Roman nose and small determined mouth; clean shaven; hair 
worn short, with suggestion of a tonsure. | 
Pencil drawing on paper—slight water colour tinting of complexion. 
Size, 10 x 714 inches. 
Signed at bottom: 
“The Revd. Huddisforth 

‘Author & Editor of Salmangundi Geo. Dance’’. 

Charles Newton Robinson Collection. 


PORTRAIT OF MR. BLAKE 

Bust facing left. Coat with wide collar, no lapels; white necktie 
knotted in a loose bow with long ends. 

Pencil drawing on paper—complexion tinted water colour. Size, 
10 x 714 inches. 

Signed in bottom left and right corners, “Feby. 2d. 1794 Geo. 
Dance’’. 

Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 69. 

Charles Newton Robinson Collection. 


PORTRAIT OF THE REVD. B. BLACKER 

Bust facing left. Coat with collar, large lapels and short ‘‘coach- 
man’s” cape. Head profile to left; shows a rather stout clean-shaven 
face with high complexion. 

Pencil drawing on paper. Size, 10x 7 14 inches. 

Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 66. 

Charles Newton Robinson Collection. 


38 


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GEORGE DANCE, R.A. 
1740-1825 


PORTRAIT OF WILLIAM KIMONT 

Bust facing left. Coat with collar of darker material, and triangular 
lapel, open over a white lace jabot wound high round the neck and 
very full in front. 

Pencil drawing on paper. Size, 10 x 714 inches. 

Charles Newton Robinson Collection. 


[SEE ILLUSTRATION ] 


GEORGE DANCE, R.A. 
1740-1825 


PORTRAIT OF THE REVD. THOMAS HUGHES ~— 

Bust facing left. Coat with high collar and no lapels, open over 
waistcoat slightly open at throat. 

Pencil drawing on paper—lips tinted with water colour. Size, 
10 x 714 inches. 

Signed by artist in bottom left corner, in pencil, “March 9th 1794 
Geo Dance’’. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 67. 

Charles Newton Robinson Collection. 


[SEE ILLUSTRATION ] 


PORTRAIT OF MR. HALEY 

Bust facing left. Coat with short lapel; white necktie. Head in 
profile; clean shaven smiling face. White wig dressed in rolled curls 
at side and in pigtail at back. 

Pencil drawing on paper—complexion tinted in water colour. Size, 
7 x 414 wnches. 

Inscribed in artist’s hand, in block letters, inside frame, bottom right, 
LAU EN 

Exhibited at “Les Maitres anglais’, Paris, 1919. No. 68. 

Charles Newton Robinson Collection. 


PORTRAIT OF MR. CROSGILL 

Bust facing left. Mr. Crosgill is seated on a high-backed chair. Coat 
with high collar, white stock and jabot. 

Pencil drawing on paper. Size, 10 x 734, inches. ; 
Dated in left bottom corner, “May 18th 1795” and signed in right 
bottom corner, “Geo. Dance’’. 

Charles Newton Robinson Collection. 


[SEE ILLUSTRATION | 
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67 


GEORGE DANCE, R.A. 
1740-1825 


PORTRAIT OF CHARLES KYNOCK, JUNR. 

Bust in profile, facing left; seated in chair. Mr. Kynock is shown in 
the dress of the period—coat buttoned up to the throat, with white 
lace jabot. 


Pencil drawing on paper—touch of water colour in face. Size, 
10 x 714 inches. 


Signed in bottom right corner, in pencil, “Geo. Dance March 23d. 
1800”. 


Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 71. 
Charles Newton Robinson Collection. 


[SEE ILLUSTRATION ] 


PORTRAIT OF A LADY WITH BONNET 
Head and shoulders facing left. High white bonnet with broad silk 
ribbon. Fair hair dressed in wide curls low on the neck. 


_ Water colour on paper—stuck on blue-grey paper foundation. Size, 


9 x 634 inches. 
Geoffrey Whitehead Collection. 


SIR NATHANIEL DANCE, R.A. 
1734-1811 


Nathaniel Dance’s drawings are sometimes mistaken for those of his 
brother, George Dance. Nathaniel Dance, however, 1s generally a por- 
traitist, who added to his name that of Holland. The work in oil of the 
two brothers being so similar, it follows that his drawings are influenced 
on two sides, first of all by his brother’s technique (though the other was 
the younger of the two), and secondly by that of Hayman, Reynolds and 
Angelica Kauffmann (whom he nearly married). 


69 


J= 


TITLE—“MUSIC” 

Composition representing a lady standing full length in the middle 
of the picture with an old-fashioned musical instrument; a small 
chorister is holding a book on the right of the picture. 

Oval drawing in Indian ink, on paper. Size, 85 x 634, inches. 
Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 73; Zurich, 
1920. No. 32. 

Ernest Renton Collection. 


Al 


70 


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71 


72 


SIR NATHANIEL DANCE 
1734-1811 


PORTRAIT OF LADY HAMILTON WITH A TAMBOURINE 

Small full-length portrait of the lady dancing to the right, the body 
nearly in profile. 

Pencil and wash drawing on paper. Size, 84 x 514, inches. 
Exhibited at ‘Les Maitres Anglais”, Paris, 1919. Ng ee 

Fairfax Murray Collection. 

Sir Charles Robinson Collection. 


TWO LADIES SEWING 

A lady full face is seated on the left, looking down on her work. 
A second is sitting on the right in profile. 

Drawing in pencil on paper. Size, 614, x 634, inches. 

Exhibited in the Reynolds Collection. No. 74. 

Reynolds Collection. 

Sir Charles Robinson Collection. 


BUST OF A GIRL—STUDY FOR A PICTURE 

The girl is standing nearly full face to the front, looking with an 
amazed and somewhat frightened expression to the right. She is 
wearing a lawn dress and a lace bonnet. 

In pencil—the face slightly tinted in water colour. A tiny but very 
expressive sketch on paper. Size, 2%, x 234, inches. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 75; Zurich, 
1920. No. 33. 

Fairfax Murray Collection. 


42 


HENRY THOMAS DAY 
18TH CENTURY 


Day is one of those little-known artists of the eighteenth century who exe- 
cuted numerous small pastels, in addition to his water colour and landscape 
views. These small pastels are of either the Hamilton or Smith type of 
oval, but tighter in their technique and very charming in colour. 


[73] 


73 PORTRAITS OF A LADY AND A GENTLEMAN 
Two silhouette pictures, cut on the usual background according to 
the fashion of the period. 
(a) The lady is in profile, standing, and directed to the right. She is 

a seen half-length to the waist, in a buff-coloured décolleté dress. 

(b) The gentleman is facing the lady in profile, and looking to the 
left—in a black suit, with white lace collar, and powdered wig. 
Pastel on paper. Full oval. Size, 5 x 414, inches. 
Oval carved frames of the period. ; 
Exhibited at ‘Les Dessinateurs Anglais’, Paris; 1920. No. 16. 
Ernest Renton Collection. 


[SEE ILLUSTRATION ] 


43 


BO 


THOMAS FROGNALL DIBDIN 
1776-1847 


Thomas Frognall Dibdin, the great friend of John James Masquerier, exe- 
cuted many water colour landscape drawings, being very much influenced 
by Masquerier’s manner in that part of his art. 

Dibdin, a famous dramatist and song-writer, was a son of the Parish 
Clerk of Holyrood Church, Southhampton. He loved all kinds of art, being 
fond of music. He must be considered as an amateur, whilst his work 
bears all the qualities and the perfection of some professional men. 


74 EVENTIDE ON THE COAST 
A large expanse of blue sky with white clouds. On the left, the dark 
blue waters of a small bay, on which are the dark sails of fishing 
boats. Right foreground, the beach on which two fishermen in 
bright-coloured clothes are busy at their boat. An overturned 
capstan. 
Water colour on paper. Size, 5 x T14, inches. 


JOHN DOWNMAN, A.R.A. 
1750-1824 


The life and work of John Downman have been studied by Dr. as 
Williamson in an extra number of the “Connoisseur”. 

With regard to the value of his works, Dr. Williamson states that prices 
have advanced by leaps and bounds since the end of the last century. 

Downman was born about 1750, in Devonshire according to the art dic- 
tionaries, but Dr. Williamson considers that he was born in or near 
Ruabon, though of the stock of a Devonshire family. When quite young he 
came to London, and in 1768 he entered the Academy Schools. In 1770 he 
sent a portrait to the Academy exhibition. About this time he spent two 
years in the studio of Benjamin West, the President. 


75 PORTRAIT OF A YOUNG LADY, IN PROFILE 
Head in profile facing left. A very agreeable face—soft round cheeks 
—dark eyes—a fresh pink and white complexion—a small well-shaped 
mouth. Except for the mouth, a close resemblance with young 
lady in the blue sash (Number 77) and probably belonging to the 
same period (1781). 
Pencil and chalk, tinted water colour, on paper. Size, 7 x 5 inches. 
Exhibited at ‘Les Maitres Anglais’, Paris, 1919. No. 79. 
Ernest Renton Collection. 
Mrs. Cranfield Collection. 
“A broad sketch from the artist’s sketch book, much broader and 
finer than some of his other achievments.”’ 


44 


[76] [75] 


JOHN DOWNMAN, A.R.A. 
1750-1824 


76 PORTRAIT OF A LADY SEATED. 1780 


J- 


The lady is shown three-quarter length, facing the artist. With her 
right hand she holds on her lap a scarf; her left elbow rests on a 
table, and her left hand is held up to her shoulder. A dark dress 
with square décolleté, short puff sleeves and long tight-fitting under- 
sleeves in a light-coloured material finished at the wrists with 
embroidered bands. A ring on the third finger of her right hand 
and a solitaire on the second finger of her left hand. 

Sketched in pencil, finished in sepia—flesh tints in water colour on 
paper. Size, 414 x 31% inches. 

Signed on table, “J. D. 1780”. 

Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 87; Zurich, 
1920. No. 38. 

Geoffrey Whitehead Collection. 

Jules Porges Collection. 

“A perfect little gem.” 


[SEE ILLUSTRATION ] 


45 


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JOHN DOWNMAN, A.R.A. 
1750-1824 


PORTRAIT OF A YOUNG LADY. 1781 

Bust three-quarters to the left. Dress with square décolleté, fone 
sleeves, wide pale blue sash. The hair is dressed high in one of the 
monumental fashions of the day. 

Black chalk, stump shadows, with the flesh and the sash tinted in 
water colour, on paper. Oval. Size, 844 x 614 inches. 

Signed in left bottom corner, “J Downman Pinxt. 1781”. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 86; Zurich, 
1920. No. 87. 
Ernest Renton Collection. 

Sir Charles Turner Collection. 


PORTRAIT OF A YOUNG MAN : 

Head and shoulders facing left. He wears a dark coat with a plain 
collar and straight front, open to show a double-breasted waistcoat 
in a light material and a high stock tied with a white lace ruffle. 
Pencil, black crayon, tinted water colour, on paper. Oval. Size, 
63/4, x 53% wnches. 

Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 85. 

Ernest Renton Collection. 

““A typical and sterling work.” 


[SEE ILLUSTRATION ] 


PORTRAIT OF A LADY. 1796 

Bust turned very slightly to right. The dress is only indicated by 
a few lines in black chalk—a waistcoat dress with a lace collar, and 
a flower at the waist. 

The profile in pencil, the rest in black chalk, on paper. Size, 
73), x 534, inches. | ee: 

Inscribed on frame, “J. Downman 1796”. 

From the artist’s Sketch Book. 

Lord Amherst of Hackney Collection. 

Ernest Renton Collection. | 

“All the more interesting, being executed by the artist for his own 
use, and not for his patrons.” 


46 


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JOHN DOWNMAN, A.R.A. 
1750-1824 


80 PORTRAIT OF MRS. WELLS, THE ACTRESS, IN WELSH 

COSTUME 

Bust three-quarters to the right. The lady wears a bodice with a 

wide kerchief round the corsage; at her bosom, two tulips; round 

her waist, a pink sash. The head is turned front and looks up. 

Pencil finished in water colour and Indian ink on ribbed and water- 
ve OG — marked paper. Size, 734, x 534, inches. 

Exhibited at ‘“‘Les Dessinateurs Anglais”, Paris, 1919. 

Ernest Renton Collection. 

Mentioned in Dr. Williamson’s “John Downman, A.R.A.” 


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81 PORTRAIT IN WATER COLOURS OF COUNT BORUSLAWKI 
Bust facing front. The Count, who is dressed in a double-breasted 
blue coat with brass buttons, over a white waistcoat, high white stock 

Ys Ge and white lace ruffle, has his right arm raised and bent at the elbow. 
A very chubby face of an elderly man. Clean shaven, with curly 
grey hair. A florid complexion and large blue eyes. The placid ap- 
pearance of the face is belied by the strongly hooked nose, with a 
deep groove between the eyes. 

Water colour on thick paper, pasted on to backing which is cut away 
at the back to show inscription, “Count Boruslawki’. Size, 
734, x T14, inches. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 77. 

Lord Tweedmouth Collection. 

“A most spirited and perfect little picture.” 


[SEE ILLUSTRATION ] 


82 SKETCH OF A LADY’S HEAD 
Cr. Bust facing three-quarters to the left. Black bodice, and large white 
Yo" fichu round the shoulders. The head is turned to face the artist; 
large dark eyes, a well-shaped mouth with scarlet lips, and a dainty 
complexion. The hair dressed in big waves and falling in curls on 
the shoulders; a white gauze veil on the back of the hair. 
Black and red crayon with high lights in gouache, on paper. Size, 
1014, x 71% inches. 
[SEE ILLUSTRATION] 


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JOHN DOWNMAN, A.R.A. 
1750-1824 


PORTRAIT OF MISS FITZGERALD. 1782 

Bust of lady facing three-quarters to the right. Miss Fitzgerald is 
wearing a white dress, with a waist and a frilled collar and long 
sleeves. | 
The dress and hair in black chalk with stump shadows; the face 
beautifully tinted in water colour. 

Size, 914, x 614 inches. 

Signed in bottom right corner, “Mifs Fitzgerald J. Downman Pt 
1733”, 

Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 80. 

Lord Tweedmouth Collection. 

Ernest Renton Collection. 


[SEE ILLUSTRATION | 


PORTRAIT OF A MAN 

Bust in profile, left. Long straight coat wit straight narrow collar, 
open down the front. High white stock. The face is shown in. pro- 
file—the smooth unwrinkled face of an elderly man with a very high 
complexion, a clean firmly cut mouth, straight nose, large honest- 
looking eyes and a square chin. White curly hair growing low on 
the back of the neck. A low-crowned broad-brimmed black soft hat. 
Pencil and black chalks, flesh tints in water colour, on pe Oval, 
Size, 914, x 634, inches. 

Signed with initials in bottom right corner, “J D 1779”. 

Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 83. 

Ernest Renton Collection. 


[SEE ILLUSTRATION | 


PORTRAIT OF A LADY 

Half length, turned to the left. Black silk mantle, white muslin col- 
lar. Face three-quarters to the left, looking front. Grey eyes. Pow- 
dered hair. Large straw hat, with pink ribbons and streamers. 
Sky background. 

Water colour on paper. Oval. Size, 9 x 7 inches. 

Sketch for the finished engraved picture. 

“A lovely picture of a pretty girl.” 


[SEE ILLUSTRATION] 
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JOHN DUNKARTON 


John Dunkarton was the younger brother of Robert Dunkarton, a pupil of 
Pether, chiefly known as an engraver, who exhibited some twenty pastels 
from time to time, his works being generally small full lengths, and chiefly 
portraits of theatrical people. He discontinued exhibiting after 1779. 


_ ff 
[87] (86) © ee ; | 
86 PORTRAIT OF A LADY Fh ee 


Half length, seated in profile to the left. Is a ‘dev 
Pencil and water colour drawing, on paper. Oval. Size, 814 x 61/4 
inches. 

Signed and dated on the right hand side, “J. D. 1780”. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 88; Zurich, 
1920 "Noo 39. 

Jules Porges Collection. 

Ernest Renton Collection. 


87 PORTRAIT OF A LADY: MISS WALKER 
Half-length portrait of a lady in profile, looking to the left, wearing 
a white muslin dress, décolleté, V-shaped, with buff-coloured silk 
sash. 
Pencil and water colour drawing, slightly touched up with wash, on 
paper. Oval. Size, 83% x 614 inches. 
Signed on the left, “J. D. 1786”. 
Sir Tollemache Sinclair, Bart., Collection. aon. wf 1234 
Colnaghi Collection. Se , /, Cott. 


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HENRY EDRIDGE 
1769-1821 


Henry Edridge showed an early taste for art, and at the age of fourteen 
was studying under Pether, and at sixteen at the Academy Schools. 
Reynolds advised him to specialize in miniature, and lent him pictures to 
copy. Soon after the death of the latter he began his drawings in water 
colour and Indian ink, and rapidly became a master in that branch of art. 
In his gouaches and pastels we find again those qualities of elegant draw- 
ing and easy technique. Edridge is one of the best-known names among 
English draughtsmen. 


[83] 


88 PORTRAIT OF A LADY WITH NECKLACE 

The lady is seated with her right elbow resting on a small table with 
/ a drawer. Her left hand lies under the right, on her lap. She wears 
v4 fm a high-waisted white dress, cut low in front, with short puffed sleeves 
| over long tight ones. Round the waist a narrow black ribbon knotted 
in front. Round her neck a long necklace of round red stones. 
Hatched background. 
Pencil and water colour on paper, stuck on card. Size, 734 x 644 
inches. 
Dated by artist in bottom left corner, 1804”. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 13; Zurich, 
1920. No. 48. 
Ernest Renton Collection. 


HENRY EDRIDGE 
1769-1821 


89 PORTRAIT OF LADY MORGAN 
Three-quarter length, facing three-quarters to the right. White eve- 
ning dress, Empire style, high waist, very low décolleté, arms bare 
except for a small sleeve with a button. 
Hatched background. 
t Pencil and water colour on paper. Size, 45 x 35% inches. 
Inscribed by the artist in top right corner, “Lady Morgan’’, 
Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 94; Zurich, 
1920. No. 44. 
Ernest Renton Collection. 


[90] [92] 


90 PORTRAIT OF A LADY RESTING AGAINST A ROCK 
Full-length portrait, facing front. The lady is reclining against large 
boulders on the right. She wears a long white dress with lace border, 
high waist, square décolleté, elbow-length sleeves. Her white cloak 
with embroidered hem is thrown open, and lies over her left 
shoulder and on the rocks. 

Pencil tinted water colour on paper. Size, 121% x 834 inches. 


Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 92; Zurich, 
1920. No. 42. 


Ernest Renton Collection. 


54 


91 


[91] 


HENRY EDRIDGE 
1769-1821 


PORTRAIT OF SIR ATHOS MUNRO, BART., K.C.B. 

Full-length portrait, facing front. The eminent soldier, dressed in 
full uniform, stands with his left foot slightly advanced. He wears a 
light-coloured coat with dark cuffs, collar and front—high collar 
open at the front over a white collar and high black stock. 

Water colour on paper. Size, 1714, x 1234, inches. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 95; Zurich, 
1920. No. 45. 

“A most important and perfect drawing.” 


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HENRY EDRIDGE 
1769-1821 


PORTRAIT OF QUEEN CAROLINE 

This portrait has previously been catalogued as “Queen Charlot es 
the wife of George III, but it is in reality the portrait of the unhappy 
Queen Caroline (of Brunswick), the unfortunate wife of George IV. 
Full-length, facing three-quarters to the left. The young and beauti- 
ful Queen wears a long-skirted high-waisted dress with a short train. 
Water colour on paper. Size, 1234 x 9 inches. 

Signed in bottom left corner, ‘““Edridge 1802”. 

Exhibited at ‘Les Maitres Anglais’, Paris, 1919. No. 91; Zurich, 
1920. No. 41. 

Earl of Crawford Collection. 

“A highly finished, most interesting drawing.” 


[SEE ILLUSTRATION ] 


FRANCIS ENGLEHEART 
1775-1849 


Francis Engleheart, born in London in 1775, was a relation of the next 
artist, George Engleheart, some earlier art historians supposing him to be 
a brother, others a nephew. What is certain is that he followed his.manner 
somewhat, but he is especially known as the engraver of Smirke’s draw- 
ings and those of other contemporaries. 


93 PORTRAIT OF A LADY 


Bust facing right, of a lady wearing high-waisted bodice with square 
décolleté, ruffed collar, and short sleeves puffed and slashed with red 
over long tight sleeves. Bodice and sleeves white with black band at 
waist. Small necklace and pendant. Face three-quarters to the 
right—arch look—full red lips—large dark eyes. Hair powdered 
and worn high in curls, with a long lock hanging on to the right 
shoulder. 

Wash background—sky-blue. 

Water colour on paper. Oval. Size, 234, x 214 inches. 

Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 97. 

J. Ravidrez Collection. 


[SEE ILLUSTRATION | 
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FRANCIS ENGLEHEART 
1775-1849 


94 PORTRAIT OF A LADY 

Head facing three-quarters to the right. The little that can be seen 
of the dress shows that it is white with a ruffed collar open in V. 
Pearl necklace tight around throat, and above, a narrow black band 
of velvet. A bright-coloured face with a small ‘‘Cupid’s bow”? mouth 
and dark eyes. Hair dressed high in small curls, powdered and fall- 
ing on each side of the neck in ringlets. 

Pencil and water colour on paper. Oval. Size, 21% x 15% inches. 


GEORGE ENGLEHEART 
1752-1839 


George Engleheart, the great miniaturist and rival of Cosway and Plimer, 
has left many drawings on paper, some of which are distinct sketches for 
miniatures, others being broad miniatures on paper. We know that he 
worked at the start in the studio of George Barrett, afterwards entering 
the studio of Sir Joshua Reynolds. 

He was « constant exhibitor at the Royal Academy and a very quick 
worker. His technique, both in his miniatures and his drawings, is totally 
different from Cosway’s. Both in his small full lengths and in his oval 
portraits he always employed the same processes, drawing in lead pencil 
very loosely, with a kind of terror of the straight line, in a broad, artistic, 
but somewhat “fuzzy” manner—a most charming way. This process gives 
a lot of softness and atmosphere to his drawings and makes them easily 
recognizable at a distance. Over this drawing he employs both water colour 
and gouache, introducing blues very often in his shadows, according to the 
tenets of the miniaturist. 

His works are of high quality—real works of art, and at the same time 
usually portraits of pretty ladies in whom the fashion of powdered hair 
eminently suited Engleheart’s art in his early period. Later on, naturally 
following the fashion, his productions are somewhat less catchy if none 
the less meritorious. The reproductions in this catalogue will give an idea 
of the charm and quality of this delightful artist. His works are justly 
valued as highly as Cosway’s. 

Little is known of the private life of Engleheart. He exhibited at the 
Royal Academy as early as 1773, and in 1790 was appointed “miniature 
painter to the King”. He exhibited as late as 1812, according to Redgrave. 


58 


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RIOT TALES ; Sr SORE eEERrreaes 
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GEORGE ENGLEHEART 
1752-1839 

PORTRAIT OF A LADY 
Full length, facing left. White dress with skirt to ground and long 
train. At waist, broad pink sash tied behind in large knot and hang- 
ing down. Bodice with frilled collar and cuffs. Short sleeves. 
Pencil and gouache on paper. Size, 9¥, x 7 inches. 
Signed in bottom right corner, “George Engleheart’’. 
Ernest Renton Collection. 
“An important and charming drawing. 


? 


[SEE ILLUSTRATION ] 


PORTRAIT OF A LADY 

Full-length portrait, facing front. The lady is standing holding her 
skirt with her right hand, while her left hand rests on the stone 
baleony behind. 

Pencil and gouache on paper. Size, 113% x 734, inches. 

Ernest Renton Collection. 


[SEE ILLUSTRATION] 


59 


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GEORGE ENGLEHEART 

1752-1839 
PORTRAIT OF A LADY 
Bust facing front. White bodice, frilled collar, square décolleté. Face 
looking front—pretty young woman with soft contours, full lips and 
tender blue eyes. Hair dressed in mass of small curls, with long 
locks on each shoulder. 
Shaded blue background. 
Water colour on paper. Oval. Size, 4 x 314 inches. 
Companion picture to the following. 
“High quality drawing.” 


[SEE ILLUSTRATION | 


PORTRAIT OF A LADY 

Bust facing three-quarters to the right. White dress, V décolleté, 
puffed sleeves over long tight sleeves. Blue sash tied at back. Smil- 
ing face three-quarters to the right, nearly profile. Hair in mass of 
small curls bound with white fillet ribbon and falling on shoulders 
in long ringlets. 

Shaded background. 

Water colour on paper. Oval. Size, 4 x 33% inches. 

Companion picture to the preceding. 


[SEE ILLUSTRATION ] 


PORTRAIT OF A LADY AND CHILD 

The lady is shown three-quarter length, facing three-quarters to the 
right. She wears a white dress, tight waisted, with a little white 
cape; with a foliate edge, and long tight sleeves with turned back 
cuffs. The face three-quarters to the right. A sweet face with a 
small red mouth, a fine nose and large blue eyes. Hair arranged in 
a great mountain of small curls with ringlets on each shoulder. Her 
right hand lies on her lap and holds shut a red-covered book. In the 
hollow of her left arm, she holds against her the infant. 

The child, three-quarter length, facing left, wears a white dress with 
a large collar and short sleeves. His head faces front—a chubby 
baby’s face with his mother’s mouth and large dark blue eyes. Curly 
brown hair falling in ringlets on either shoulder. 

Shaded background. 

Pencil and water colour on paper. Oval. Size, 434, x 4 inches. 
Exhibited at ‘Les Enfants Anglais”, Paris, 1922. 

Ernest Renton Collection. 


[SEE ILLUSTRATION ] 
60 


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101 


GEORGE ENGLEHEART 
1752-1839 

PORTRAIT OF A LADY 
Three-quarter length, facing three-quarters to the left. The lady is 
seated in a chair with curved back and arms, and she wears a white 
dress with frilled collar open in V, sleeves tight to the elbow and 
then puffed out half-way down the forearm, and red sash. | 
Water colour and pencil on paper. Size, 65 x 53% imches 
Ernest Renton Collection. 


GEORGE ENGLEHEART 
1752-1839 


PORTRAIT OF A YOUNG BOY 

Bust facing three-quarters to the right. ‘The boy wears a white suit 
with a white frilled collar. The right arm lies across the chest. 
Water colour on paper. Oval. Size, 6 x 484, ches. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 96; “Les 
Enfants Anglais’, Paris, 1922. 

“It is my opinion that this very charming drawing is the work of 
John Cox Dillman Engleheart (1783-1862) and not that of his uncle 
and namesake George.”—R.R.M.S. 


WALTER FASTROUGH 


Walter Fastrough was an Irish artist of the early nineteenth century, 
whose name is missing in most painters’ dictionaries. He has a very great 
charm, while at the same time a certain naivete. 


WALTER FASTROUGH 


102 DRAWING, BOY AND GIRL 


Full length; fancy dress. The boy in the centre faces front and 
stands, the right foot over the left, holding in his left hand, the left 
hand of the little girl standing on the left. He wears a pink coat 
and breeches, with a short blue cloak, a lace collar, blue stockings 
and shoes with pink bows. 

On the left, facing right, is the little girl. Short white dress with 
panniers on the sides, short sleeves and low neck. Bare feet. The 
girl holds her right arm in front of her, and with her left holds the 
left hand of the boy. 

Water colour drawing, on paper. Size, 1114 x 834 inches. 

Signed at bottom right, “Walter Fastrough”’. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 98. 

Ernest Renton Collection. 


62 


THOMAS GAINSBOROUGH 
1727-1788 


It is always with some kind of admiring hesitation that a writer starts a 
notice on the great virtuoso of the British school. His life and work have 
been thoroughly studied by Sir Walter Armstrong, and his sketches and 
drawings, like those of George Romney, have for a long time been highly 
valued and anxiously collected by art lovers. 

It is not a mere fashion that has set Gainsborough’s drawings on the, 
pinnacle. They will certainly as long as the world exists be considered the 
most extraordinary achievements of the man who combined the two qual- 
ities of being at the same time the greatest artist and the greatest painter. 

‘Among portraits executed by Gainsborough we find, in his early period, 
small drawings and pastels executed for his patrons, whilst later on the 
portraits we find are solely sketches for his bigger pictures, executed for. 
himself. In his youth Gainsborough even executed a few miniatures. His 
work in pastel has already been studied in the book on “English Pastels” 
so often mentioned in the course of these notices. Let us remark that there 
already we find that denth of feeling, those atmospheric qualities, that 
wondrous technical skill which characterized his larger work. 

Gainsborough is the most elegant, whilst at the same time the most. 
forceful, draughtsman of the period, and he was naturally as great in his 
first sketches of the great ladies or the rustics whose portraits he was going 
to execute as in his more ambitious work. His great delightful heart was 
helping his colossal brain, and those dashes of genius on a bit of paper are 
to our mind even more admirable than the most valuable drawing of the 
quinquecento, and in another sphere of art rank as high as a Benvenuto or 
a Michelangelo drawing, or if compared with the eighteenth century 
French giants, are quite on the level of Watteau or Fragonard. As we 
shall find in our study of Romney, that great portraitist has also produced 
some extraordinarily forceful drawings; and these two men produced the 
masterpieces of the period. No great collector ought to be without a 
Thomas Gainsborough drawing. 


[SEE ILLUSTRATION ] 


63 


THOMAS GAINSBOROUGH 
1727-1788 


Gainsborough was born at Sudbury, Suffolk, in 1727. When about fif- 
teen he came to London and became a pupil of Gravelot, the French en- 
graver, and also studied at the St. Martin’s Lane Academy. There he 
became a pupil of Frank Hayman for four years, and afterwards started 
to practice in his native town. At the age of nineteen he married Margaret 
Burr, whose little fortune rendered him more independent of commercial 
considerations. His popularity increased so rapidly that his price for a. 
portrait advanced from five to eight guineas, and eventually settled at 
forty guineas for a half length and a hundred guineas for a full length. 3 


104. SKETCH FOR THE PORTRAIT OF THE HONOURABLE MRS. 
GRAHAM 
Bust facing front of a young lady wearing a iighe coloured dress 
with a low neck. A beautiful oval face, stamped with the refinement 
of generations of patrician ancestors: firm red mouth, straight nose 


Vm with clear-cut nostrils, open fearless grey-green eyes, and a high 


noble forehead crowned by a mass of fair hair, which is dressed in 
the “Gainsborough” manner, a long ringlet down the back, brought 
round to lie on the front of the right shoulder. 

In the hair is a curious scribbled mark in pencil: while the sketch 
lay in the artist’s studio, some one made this mark accidently. If it 
were removed, there would be a danger of removing some of Gains- 
borough’s delicate. chalk work—and there it has remained for a 
hundred years. 

Shaded background. 

Three colour chalks on paper. Size, 111% x 9 inches. fae: 

Inscribed on frame by a French framemaker, “Mrs Tickle. T. Gains- 
borough.” 

The name, of course, is wrong—we know now that the sketch was 
of Mrs. Graham, whose full-length portrait has drawn so many visi- 
tors to Edinburgh. 

Sir T. Acland Collection. No. 47. 

Sir Charles Robinson (Director of the South Kensington Museum) 
Collection. 

Charles Newton Robinson Collection. 

“A first sketch—but a masterpiece.” 

“One of the gems of the Collection.” 


[SEE ILLUSTRATION ] 
64 


[104] 


THOMAS GAINSBOROUGH 
1727-1788 


105 SKETCH: PORTRAIT OF A LADY 


ZO0- 


Bust turned to the left. The lady wears a bright blue bodice edged 
with white, low square décolleté, and round her neck a white ribbon. 
Her face is turned front—an aristrocratic face of a young lady, who 
has her hair powdered and dressed high on her head, with a ribbon 
entwined in it. 

Background, light blue wash. 

Pencil and water colour on paper. Oval. Size, 3% x 21% inches. 
White Collection. 

“An admirable little work of art. It has all the whimsical charm of 
a pencil as elegant as that of Watteau.”’ 

“Perfectly genuine early picture by the master.” 


THOMAS GAINSBOROUGH 
1727-1788 


106 SKETCH: PORTRAIT OF W. J. NIXON 


Bust, facing right. Mr. Nixon ig wearing a straight-fronted coat 
with a narrow collar, a white stock and a large bow. He has a hand- 
some clean-shaven face with a well-shaped mouth and dark eyes and 
eyebrows. Curly fair hair—a wig (?). 
Bath period. 
Charcoal and chalks on paper. Size, 8% x 6Y, inches. 
Inscribed curiously, at bottom: 
“W J Nixon 
This drawing was given to me by Wm. Bright 
Mr Wright supposes this to be by Gainsborough”. 
Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 104. 
Ernest Renton Collection. 


66 


[105] 


[107] 


DUPONT GAINSBOROUGH 
1767-1797 


107 PASTEL: PORTRAIT OF A LADY 
Bust facing three-quarters to the right. Black dress, white fichu, 
narrow black ribbon round the neck and hanging on bosom. The 
head is turned front and shows a beautiful gracious lady with a 
very sweet smile, a delicate complexion, and soft grey eyes. Her 


soft waving hair is powdered and frames her face. 
Shaded background. 


Pastel on coarse millboard. Size, 1314 x 101% inches. 
“A lovely pastel in a fine state of preservation.” 


68 


DANIEL GARDNER 
1750-1805 


Gardner owes his modern reputation to those charming drawings, height- 


ened in water-body colour and finished in wash and in pastel, which place 
him in the foremost rank of the great artists of this school. 


The sitter, distinguished and finely modelled, stands out against a back- 


ground of wash representing rocks, trees and clouds. The features of the 
model are drawn and entirely finished with a very sharp point. The judi- 


cious use of water-body colour imparts to the draperies, the hair, and even 


to the foliage of the trees, the required force of relief, while the chalk, 


applied in half-tone over almost the whole surface, softens the effects of 
the shadows and reflections of light, which are skilfully distributed and 
gradated. Thus he obtained the same delicate effects as his rival, 
Downman, who, on the other hand, applied colour at the back of his draw- 


ings, just as portrait painters, by the skilful use of glazes laid on over the 


required portions of the finished work, obtained those half-tones and trans- 
parent effects which it was impossible for them to produce in the first 
instance. Gardner’s method is that of a master, and he was entirely suc- 
cessful in it. Time had but to soften his pictures, which have come down 
to us among the purest gems of the art of the eighteenth century. 

Gardner was born at Kendal and studied at the Royal Academy 
Schools. He was remarked by the. President, Sir Joshua Reynolds, who 
took a great liking to him. He became the fashionable artist for little por- 
traits in oil and pastel. He amassed a fortune by his art, and died in 
Warwick Street, Golden Square, at the age of 55. 


108 


109 


DANIEL GARDNER 
1750-1805 


A PAIR OF STUDIES FOR KING LEAR 

The sitter was ‘Peter the Paviuor”, one of Sir Joshua Reynolds’ 
models; and the drawings were done in Reynolds’ studio while 
Gardner was a student there. . 

(a) Head and shoulders facing front. The old man wears a brown 
mantle. His right fist is raised and clenched, while his left hand is 
held to his head. His fine rugged face is drawn in an expression of 
fury. He has a snow-white beard and moustache and snow-white 
hair. 

Dark shaded background. 

Pastel on paper. Size, 10 x 734, inches. SE 
(b) Head and shoulders three-quarters to the right. A dark red 
cloak. The old man has his right hand raised and rests his cheek on 
his left hand. Head nearly profile, right. An expression of quiet 
content. 

Dark shaded background. 

Pastel on paper. Size, 934, x 734, ches. 

(2) 


[SEE ILLUSTRATION, PAGE 69] 


DANIEL GARDNER 
1750-1805 


PORTRAIT OF A YOUNG LADY 
Bust facing front. The young lady is seated, her hands folded on 
her lap and her left arm resting on the arm of the seat. White 
muslin dress, sleeves to the elbow, edged with white lace, V décolleté, 
tied round the upper arm with yellow ribbon. Very beautiful slim 
hands. Over the left shoulder, a dark scarf. 
Head three-quarters to the left, looking left. Smiling red lips, small 
straight nose, violet eyes. Dark brown hair piled high and bound 
with a white ribbon, and hanging in two locks on either side of the 
neck. 
Pastel, water colour and pencil on paper. Size, 1534, x 12 inches. 
Sir Robert Gresley Collection. 
Martin H. Colnaghi Collection. 
Jules Porgés Collection. 
“A typical and fine example of the master’s finest quality.” 
In perfect condition, except for a tiny damage near the left eye on 
the cheek. 

[SEE ILLUSTRATION |] 


70 


[109] 


DANIEL GARDNER 
1750-1805 
110 PORTRAIT OF A LADY 
Three-quarter length, facing right. This very charming young lady 
is seated at the foot of a tree, her right leg crossed over the left, her 
left hand on her lap, and her right elbow supported on her knee with 
the right hand under the chin. Pale yellow skirt, long grey coat 
with high waist and long tight sleeves. White lace at the wrists and 
a pale blue collar. Low neck. Very beautiful long hands. 


Sy H re Pastel and water colour on paper. Size, 16 x 1034, inches. 


Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 105; Zurich, 
1920. No. 47. 

Wertheimer Collection. 

Ernest Renton Collection. ; 2 

“One of the purest gems of eighteenth century art’’. 


[SEE ILLUSTRATION | 


GUSTAVE HAMILTON 


Gustave Hamilton is an Irish artist very rarely mentioned in English dic- 
tonaries, though Mr. Strickland in his “Dictionary of Irish Art’ has given 
an interesting account of this draughtsman, whose chief quality was charm 
and grandeur. Not so vivacious as Hugh Douglas, or so classical and 
varied as William, Gustave Hamilton’s works have a distinction of their 
own; they are solidly built and firmly executed with a sure hand. 

Gustave Hamilton should be watched by the judicious collector, as later 
on more of his work will be unearthed and he is a coming man. 


GUSTAVE HAMILTON 


111 BUST OF A GENTLEMAN 
Face and profile to the right—the head only is finished. The coat is 
sketched in charcoal, and a few dashes of blue indicate its future 
colour. The tie and the lace at the neck are of white muslin. The 
hair is powdered, in a pigtail. 
Pastel on paper. Size, 9 x 71% inches. 
Exhibited at “Les Dessinateurs Anglais’, Paris, 1920. No. 20. 
Sir Charles Robinson Collection. 
Charles Newton Robinson Collection. 
Jules Porges Collection. 


[SEE ILLUSTRATION, PAGE 75] 
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[110] 


HUGH DOUGLAS HAMILTON 
1734-1806 


H. D. Hamilton is the Irish specialist of small pastel drawings and water 
colours which we might describe as “pastels in water colour’, who made a 
great reputation for his small drawings in black lead pencil heightened 
with sanguine and for his oval pastels. ! 


112 PORTRAIT OF A LADY 


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Bust, three-quarters to the left. She is wearing a blue wrap with 
deep collar, edged with scalloped black lace, open V shape. Head 
three-quarters to the left, looking left. . 

Pastel on paper. Oval. Size, 1014, x 8 inches. j 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 110. 

Ernest Renton Collection. 


[113] 


PORTRAIT OF A LADY 

Bust, three-quarters to the right. The lady, who would appear to 
be in mourning, wears a black dress, with a V-shaped décolleté, with 
white lace at the throat. 

Water colour on paper. Oval. Size, 934 x 73% inches. 

Exhibited at “Les Dessinateurs Anglais”, Paris, 1919. No. 25. 
Ernest Renton Collection. 


[SEE ILLUSTRATION | 


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[114] [111] 


HUGH DOUGLAS HAMILTON 
1734-1806 


PORTRAIT OF A LADY 

Bust, facing three-quarters to the right. She has a red bodice with 
broad white lace fichu, tied with a large knot of white ribbon. Pink 
complexion, full cheeks and chin, smiling mouth, snub nose, and large 
brown eyes, under finely pencilled eyebrows. She has a wide fore- 


yy head; her hair is powdered, in small curls, with roll curl on each 


shoulder. Elaborate, white lace cap, with small bow on top. 
Pastel on paper. Oval. Size, 914 x 71% inches. 


[SEE ILLUSTRATION ] 


HUGH DOUGLAS HAMILTON 
1734-1806 


PORTRAIT OF MASTER HOARE 

Bust, facing right. The boy is wearing a dark blue jacket, with 
white ruffle on neck. The head is three-quarters to the right, looking 
front. He has a clear complexion, round face, and large blue eyes. 
Water colour on paper. Size, 5% x 41% inches. 

Exhibited at ‘‘Les Maitres Anglais’, Paris, 1919. No. 111; Zurich, 
1920. No. 50. 


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116 


117 


[116] [117] 


HUGH DOUGLAS HAMILTON 
1734-1806 


PORTRAIT OF A GENTLEMAN 

Bust, facing front. Head three-quarters to the right, looking front. 
He is wearing a dark blue tunic, faced with scarlet cloth and brass 
buttons, with small stand-up collar in red cloth, edged with blue. He 
has a white stock. 

Pastel on paper. Oval. Size, 934, x 81% inches. 

“A genuine example of his best Irish period.” 


[SEE ILLUSTRATION | 


PORTRAIT OF A LADY 


- Bust, facing front. The lady is wearing a mauve dress with mauve 


fichu, tied in a large bow in front. The head is three-quarters to 
the right, looking right. 
Water colour on paper. Oval. Size, 8Y% x 73% inches. 
Exhibited at “Les Dessenateurs Anglais’, Paris, 1919. No. 24. 
[SEE ILLUSTRATION ] 


76 


WILLIAM HAMILTON, R.A.’ 
1751-1801 


Wiliam Hamilton, who was a painter of portraits and historical subjects 
of Scottish extraction, has left us many small pastels and drawings, and 
also some large pastels. 

He was born at Chelsea in 1751. Clerk to the architect Robert Adam, 
he visited Italy under him and studied under Zucct. On his return in 1769 
he was admitted as a student to the Royal Academy. He then painted 
several historical pictures and some portraits. He was employed by 
Boydell on the illustrated edition of Shakespeare. 

No collection of drawings would be complete without representative 
examples by this master. 


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[119] 


118 PORTRAIT OF A YOUNG GIRL WITH A MUFF 

Bust, facing three-quarters right. Black mantle with large sleeves; 
| ruched at the neck, which is open in V, and on the edge of the little 
Jy oe cape and the edges of the sleeves. A small muff is held in front of 

| the body. 

Indian ink and water colours on paper. Oval. Size, 1014, x 8 inches. 
Exhibited at “Les Dessinateurs Anglais”, Paris, 1922. No. 30; “Les 
Enfants Anglais’, Paris, 1922. 


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[119] 


WILLIAM HAMILTON, R.A. 
1751-1801 


119 PORTRAIT OF THE MARCHIONESS OF ELY 
Bust facing three-quarters to the left. The Marchioness wears a 
reseda-green dress with tight bodice with a pointed waist; long tight 
sleeves; frilled collar and large bow in front; white fichu. The face 
three-quarters to the left, looking front, shows a lady past the bloom : 
of youth, but still very beautiful. 
Pastel on paper. Size, 1054 x 81% inches. 
Written in ink on back of frame, ““Marchioness of Ely”. 
Exhibited at “‘Les Dessinateurs Anglais”, Paris, 1919. No. 32. 


718 


121 


WILLIAM HAMILTON, R.A. 
1751-1801 


120 PORTRAIT OF A LADY—AT THE FOUNTAIN 


A large classical drawing. Full length, facing left. The woman, who 
is in Grecian attire, holds in her left hand a Grecian vase, which she 
is filling at the fountain on the left. 

Pencil and water colour on paper. Size, 17 x 1114 inches. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 114; Zurich, 
1920. No. 52. 

Ernest Renton Collection. 

“A grandly executed classical drawing done in pencil with an easy 
free handling and coloured in delicate hues.” 

Reproduced in colour, full page, in ‘‘The Connoisseur”. 


PORTRAIT OF MRS. HARTLEY 
Bust facing front. Loose white dress; open low neck. Face in pro- 
file, left. A very beautiful face with regular features. 


/— Pastel on paper. Size, 10 x 734, inches. 


Written in ink on wooden back: ‘Mrs. Hartley the Actrefs F A. C G. 
as Jane Shore Oct. 5. 1772. Died July 2 1824. aged 738. Hamilton 
pinxit.” i~ 

Exhibited at ‘Les Dessinateurs Anglais’, Paris, 1922. No. 31. 


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WILLIAM HAMILTON, R.A. 
1751-1801 
THE BIRD CAGE 


Two ladies, full length, are in the middle of the ee opening a a 


wooden cage in which is a white bird. 

A most interesting picture, in pastel, pencilled up, with charcoal and 
pencil. This important pastel, at first sight, would remind one of a 
fine work by Daniel Gardner; if it were not that the picture is fully 
signed, the mistake could easily occur. 

Pastel on paper stretched on canvas. Size, 2814 x 2114 aches 

The chief figure has been silhouetted on the left of the hair, to give 
more depth and more relief. 

Inscribed on the left hand side, at the bottom, “W. Hamilton’”—in 
lead pencil, in the same manner as Russell signed his pastels. The 
picture has been lengthened by one inch at the bottom. 

Exhibited at “Les Maitres’, Paris, 1919. No. 113. 

Martin Colnaghi Collection. 

“A capital and most interesting work by the master.” 


[SEE ILLUSTRATION ] 


TWO WATER COLOURS. SKETCHES FOR FRIEZES. 
CLASSICAL SUBJECTS 

(a) In the centre, Phoebus in his four-horsed chariot, rides Hay 
(east!). The sunrise. Behind the chariot are the Hours of the 
Night, women in various poses and dresses. In front of the chariot 
are the Morning Hours, women dancing joyously with linked hands, 
and preceded by the Spirit of Darkness, whom they are chasing away. 


Pen and ink heightened with water colour, on paper. Size, 3 x 2534, — 


inches. 

Signed in ink, right bottom corner, ““W Hamilton Ind 1784”. 

(b) Feast in honour of Silene, whose bust is shown in left centre 
adorned with a garland; before him, is an urn with burning incense. 
On the left, a kneeling woman; a young man walking right, crowned 
with vine leaves, a vase in his right hand and an upraised cup of 
wine in his left; two women seated. On right of Silene, an orchestra 
of three women playing triangle, cymbals and lyre; four dancing 
couples; a woman with a tambourine; two seated women. 

Pen and ink heightened with water colour, on paper. Size, 3 x 25 
inches. 

Signed in bottom right corner, “W Hamilton Ind 1784’. 


[SEE ILLUSTRATION, PAGE 79] 
80 


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H. J. HARDING 
19TH CENTURY 


H. J. Harding, the miniaturist, lived in London at the beginning of the 
nineteenth century, and exhibited his works at the Royal Academy and at 
Suffolk Street. He executed small and refined drawings on paper, which 
are increasing in value year by year. 


124 A PEASANT GIRL | 
A small full length of a girl walking in the countryside, holding a 
basket. She is directed towards the left and turning her head back 
to the front. She is wearing a purplish-brown dress with blue bodice, 
grey apron, and yellow straw hat with blue ribbon. White lawn 


fe sleeves. Her complexion is highly coloured. 
we Drawing in pencil heightened by water colour, on paper. Size, 


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714 x 534, inches. 
Inscribed on the mount, “H. Harding 1818”’. 
Ernest Renton Collection. 


125 BOY FISHING 

The boy is standing by the river side, resting against a bank, with a 
fishing rod in his hand, looking intently at the river on the left. 
Pencil and water colour drawing on paper. Size, 7x 514 inches. 
Exhibited at “Les Dessinateurs Anglais”, Paris, 1919. No. 33; “Les 
Enfants Anglais’, Paris, 1922. No. 30. 

“A very typical drawing.” 


J. W. HARDING 
18TH CENTURY 


J. W. Harding, the engraver, practised in the latter part of the eighteenth 
century, chiefly in the dotted manner, and was engaged upon the works of 
Angelica Kauffmann and other notable contemporaries. He was the author 
of “Sketches in North Wales’, published in 1810. 


J. W. HARDING 
126 WAITING 
Full length of a female figure in white classical robe, with neck and 
forearms bare. She is seated on a rocky shore, looking at the sea. 
Profile, turned to the left. 
Conté crayon and sanguine, on paper. Size, 734 x 53 inches. 
Signed with initials at the lower left. 
Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 70; Zurich, 
T2002 N Oe: 
Reynolds Collection. 
Sir Charles Robinson Collection. 


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GEORGE HENRY HARLOW 
1787-1819 


George Henry Harlow is in our opinion one of the most interesting artists 
of the beginning of the nineteenth century, who would have had a very 
big future had he not died early. 

A pupil of Drummond and Lawrence, he started with small theatrical 
portraits and developed afterwards into larger productions. Unfortu- 
nately, the numerous copies or imitations of Lawrence in circulation at 
the beginning of this century were regularly called Harlow’s by those who 
did not know how to name them, so that some amateurs and dealers 


_ adopted the habit of considering Harlow as a second-rate man. In reality, 


bu his intensity of expression and strength of execution he is a first-rate 


artist both in oils and in his water colour drawings. 


In his drawings this eminent artist closely resembles Sir Thomas himself 
in colour, technique and handling, though he is less mannered and some- 
what broader. Undoubtedly his works are one of the best investments 
for the genuine collector, and will become one of the most appreciated pos- 
sessions later on, if our prophecy is realized. 


127 PORTRAIT OF MRS. SIDDONS IN THE PART OF LADY 


MACBETH 

See Macbeth, Act V, Scene I. 

“Waiting Gentlewoman: Lo you, here she comes! This is her very 
guise: and, upon my life, fast asleep. Observe her; stand close. 


4 va Doctor: How came she by that light? 
O- 


Gen.: Why, it stood by her: she has light by her continually; ’tis 
her command. 

Doct.: You see, her eyes are open. 

Gen.: Ay, but their sense is shut.” 

Mrs. Siddons is shown full length, facing front, walking forward, the 
right foot advanced and the left on the step behind. In her left 
hand she holds aloft a small flat lamp. Her right arm is held up 
with the forefinger outstretched. She wears a long night dress with 
a high waist—bare feet. Over her head a long veil hanging down 
behind to the ground. On the beautiful face with its large dark eyes 
and half parted lips, an expression of fear and horror. 

“To bed, to bed; there’s knocking at the gate: come, come, come, 
come, give me your hand; what’s done, cannot be undone: to bed, to 
bed, to bed.” 

Water colour on paper. Size, 19% x 1334, inches. 

Exhibited at “Les Dessinateurs Anglais’, Paris, 1922. No. 34. 
“Very important drawing; typical of Harlow’s theatrical pictures 
manner.” 


85 


128 


129 


[128] [ie 


GEORGE HENRY HARLOW 
1787-1819 


PORTRAIT OF A LADY: LADY TEMPLETOWN 

The lady is seated facing three-quarters to the right, three-quarter 
length. Her right arm rests on the arm of the chair. 

Pencil and sanguine on paper. Size, 1014 x 8 inches. 

Printed on frame, ‘‘Lady Templetowne G. H. Harlow’’. 

Ernest Renton Collection. 


[SEE ILLUSTRATION ] 


PORTRAIT OF A LADY 

Head and shoulders facing front. The head is inclined slightly to 
left. A somewhat melancholy face, with large beautiful grey eyes 
and fine eyebrows. Soft wavy hair parted in the middle, in twn large 
bands on each temple. 


Pencil and red crayon for the flesh tints, on paper. Size, 4144 x 314 
inches. 


Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 117; “Les 
Enfants Anglais”, Paris, 1922. 
Ernest Renton Collection. 


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GEORGE HENRY HARLOW 
1787-1819 


SKETCH IN WATER COLOURS OF A LADY 

The lady is seated, her right arm hanging loosely by her side and 
her head resting on her left hand. Dress, which is only roughly 
sketched in, is full with low décolleté and elbow-length sleeves. 
Pencil and water colour on paper. Size, 115 x Te inches. 
Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 118. 

Ernest Renton Collection 


PORTRAIT OF MISS WARREN SMITH 

Bust, facing three-quarters to the left. Low-necked white dress. She 
is holding her right hand to her bosom. Face in profile, left. 
Pencil and sanguine on paper. Size, 9x 7 inches. 

Marked on frame, “G. Harlow”. 

“A genuine and lovely work of art.” 


[SEE ILLUSTRATION | 


[132] 


PORTRAIT OF A YOUNG LADY: MISS HAWKINS 

Head in profile, facing left. Young round chin, lips half parted, 
vivacious grey eyes—an expression of eagerness. 

Pencil and sanguine on grey paper. Size, 1014 x 834, inches. 

Signed on right centre, “G. H.” Inscribed by artist in bottom left 
corner, “Miss Hawkins”. 

“One of the best of Harlow’s drawings.” 


[SEE ILLUSTRATION ] 
85 


133 


GEORGE HENRY HARLOW 
1787-1819 


PORTRAIT OF EDMUND KEAN 
Kean, the actor, in one of his well known roles. 
Dark sepia wash on paper. Size, 934, x 713 ches. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 120; Zurich, 
LOZ02 INO: oe 
“The drawing which served for the famous engraving of Kean as 
Macbeth.’’ 
[SEE ILLUSTRATION ] 


86 


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[134] 


CHRISTIAN FERDINAND HARTMANN 
P.R.A. OF DRESDEN 
1774-1852 


This interesting artist was born in Stuttgart in 1774. Called to England 
by the Court, he executed many portraits there of famous people of scien- 
tific, artistic and literary circles. 


134 PORTRAIT OF CHARLES DICKENS. 1847 

Water colour on paper. Size, 1734, x 1034, inches. 
| Signed and dated, lower right, “Ch. F. Hartmann gez 1847”. 
Séo- Exhibited at “Les Dessinateurs Anglais”, Paris, 1922. No. 35. 
Ernest Renton Collection. 


87 


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[136] [135] 


CHARLES HAYTER 
1761-1835 


Charles Hayter, father of Sir George Hayter, practised successfully as a 
painter of portraits in crayons and miniatures about the beginning of the 
nineteenth century, and exhibited miniatures requis at the Royal 
Academy up to the year 1882. 


135 PORTRAIT OF LADY BLESSINGTON 
Sketch of head of the famous beauty. The face only is finished. 
Pencil, gouache on paper. Size, 8 x 6% inches. 
Signed on the right hand side, bottom corner, “C. Hayter’’. 
Exhibited at ‘Les Maitres Anglais”, Paris, 1919. No. 121. 
Given, in mistake, under the name of Lady Pilkington. 
Sidney Cooper, R.A., Collection. 
Burdett Coutts Collection. 


SIR GEORGE HAYTER 
1792-1871 
136 MOTHER AND CHILD 
A pencil drawing with tint flesh in water colour, very delicately put 
in, on paper. Size, 7 x 434 inches. 
Inscribed in the top left hand corner, “July 18337’. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 123 “Les 
Enfants Anglais”, Paris, 1922. No. 32. 


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JOHN HAYTER 
1800-1879 


whom he approaches very nearly in his best examples. A very charming 
composition is the one reproduced here, signed and dated 1803, which is 
carried out in pencil, the flesh tinted over in the Lawrence style, but some- 
what broader, and the pencilling a little heavier. 


| John Hayter in his drawings is a direct follower of Sir Thomas Lawrence, 
: 
137 PORTRAIT OF A YOUNG LADY 

Tinted drawing in pencil, with face and neck in water colour. 

. Signed and dated on the right bottom corner, “J. Hayer 1823 Augt.” 
. Map Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 122. 


Ernest Renton Collection. 


\ JOSEPH HIGHMORE 
1692-1780 


The works of this artist deserve to be in any complete collection of 
eighteenth century drawings. He was an intimate friend of Richardson, 
and followed similar methods. 


138 PORTRAIT OF ELKINS, THE ACTOR 
Fo A. Pencil and water colour sketch, on paper. Size, 95/16 x 63%. inches. 
Inscribed at the bottom of the drawing, “Portrait of Elikins (sic.)”’. 
: Meatyard Collection. 


| 89 


[139] [140] 


CHARLES HOWARD HODGES 
1774-1837 
Hodges the engraver had a habit of copying in pencil or charcoal, and 
colouring in water colour the fleshes, of most of the pictures he engraved. 


139 THE CONTEMPLATIVE YOUTH fies 
This picture is the engraver’s drawing of the famous picture by 
Reynolds. 
Jt The picture is in charcoal and water colours. The face and hands 
are coloured in natural colours. The rest of the picture is in black 
and white. On paper. Size, 11 x 914, inches. 


THOMAS HOLLOWAY 
1748-1827 


Thomas Holloway executed many pastels and water colours before becom- 
ing an engraver. He is one of those masters who will gain repute and 


value as time goes on. 


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140 PORTRAIT OF A LADY 

Tinted wash drawing in pencil and water colour, on paper. Oval. 
Size, 834, x 714, inches. 

Signed and dated on the left hand side, ““T. Holloway, 1787’. 
Exhibited at ‘Les Dessinateurs Anglais’, Paris, 1920. No. 36. 
“A very perfect little work of art.” a 


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JOHN HOPPNER 
1758-1810 


John Hoppner has not executed many portraits in pastels or gouaches, as 
he often was said to have done before the discovery of the existence, or 
rather the reinstation under the producers’ names, of the works of Chin- 
nery, Masquerier and Hobday. In our long experience we have only found 
two types of drawings, or rather sketches, which can be definitely at- 
tributed to Hoppner, and those are: firstly, sketches for portraits more or 
less highly advanced, i.e. either a mere outline in black charcoal, or crayon 
drawings, executed with a facile pencil and with all the adroitness and 
elegance that were the chief attributes of the first painter to the Prince of 
Wales. He even carried such work sometimes to a further point, as in the 
portrait reproduced here, where the artist has made extraordinarily clever 
use of his sanguine stick and even used blue chalk to get his sky effect. 
The second type of sketch is executed for his pictures in lead pencil and 
Indian ink, not unlike George Romney’s drawings, and which may have 
been painted either for the study of the composition and division of light 
and shade for the future picture, or as i sketches for the engravers, to 
give them his ideas. 


141 SKETCH FOR THE PORTRAIT OF LADY X. AS MIRANDA 
Full length, three-quarters to the right. 
“Tf by your art, my dearest father, you have 
Put the wild waters in this roar, allay them. 
The sky, it seems, would pour down stinking pitch, 
| J /- — But that the sea, mounting to the welkin’s cheek, 
; Dashes the fire out.” 
“THE TEMPEST’. Act I. Scene II. 
Pencil and sepia wash on paper. Size, 814 x 634, inches. 


142 PORTRAIT OF A LADY 

Bust, three-quarters to the left. White low-necked dress, with broad 

,/ 72. black sash. Head looking front, nearly full face. Regular features. 
f Charcoal, pencil, sanguine and white chalk on paper. Size, 914 x 61% 

inches. 

Geoffrey Whitehead Collection. 

“A most expressive study.” 


91. 


JOHN HOPPNER 
1758-1810 


143. PORTRAIT OF A LADY SEATED AT A WINDOW 

The lady is seated facing left, her right hand lying in her lap and 
her left elbow resting on the carved side of a wooden settle. Pink 
dress with wide black sash, short full sleeves with a wide white 
muslin cuff; deep white muslin collar. 

Charcoal, pencil, sanguine and white chalk with blue chalk for the 
sky, on paper. Size, 914, x 7 inches. 

Geoffrey Whitehead Collection. 


92 


T 
. 


OZIAS HUMPHREY 
1742-1810 


Ozias Humphrey is an eminent pastellist and, with Gardner, is the artist 
who most nearly approaches the art of Reynolds. Simple in composition, 
well drawn, pure and sweet in colouring, and true in likeness and char- 
acterization, his pastels have a charm that has stood the test of time. 

Humphrey was born at Honiton, Devon, of a very ancient family. Show- 
ing while young a decided talent, he was sent to the St. Martin’s Lane 
School. His father’s death obliged him to return home, and he was then 
placed under the miniaturist Samuel Collins at Bath. After the latter’s 
departure for Dublin he succeeded to his Bath connection. On the advice 
of Reynolds he settled in London in 1764, and two years after one of his 
miniatures exhibited at Spring Gardens was bought by the King, who com- 
missioned him to paint the Queen and other members of the royal family. 
In 1773 he accompanied George Romney to Rome. Returning to London, 
he exhibited at the Academy in 1779, 1780 and 1783. In 1785 he sailed for 
India, where he painted many important miniatures of native princes. For 
reasons of health he returned to London in 1788 and practised in minia- 
ture, but his eyesight did not long stand the strain of such minute work, 
and he commenced in pastel, where he succeeded so well that he devoted his 
whole attention to that branch of art. His portraits of the Prince and 
Princess of Orange were his last productions, his failing sight making 
further work impossible. He died in London in 1810. 


144 PORTRAIT OF A GENTLEMAN 
Portrait of a gentleman in plum-coloured coat—nearly profile, to the 
right. He is wearing a velvet coat-collar and white lawn collar. His 


Jy J hair is powdered. His eyes are brownish-grey. His mouth and nose 


are strong. 

The portrait is that of a country gentleman. The face still bears 
the distinguishing mark of the technique of Ozias Humphrey. Over 
his general background of rubbed-in pastel, he has executed some 
bold marks in sharp crayon, and left other parts, contrariwise, to 
“Russell” technique. 

Pastel on paper, sketched on canvas. Size about 2312 x 18% inches. 
Signed with his monogram in the background on the left hand cor- 
ner, the H within the O. 

Sir Charles Turner Collection. 


93 


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— 
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| 

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[145] 


OZIAS HUMPHREY 
1742-1810 


145 PORTRAIT OF LADY BARBARA LUCY ASHLEY 
Pastel on ribbed paper. Size, 11 x 814, inches. 
This is the original sketch taken from life by the artist on his return 
from Rome, the finished picture being exhibited at the Royal Acad- 
emy of 1797, under the name, ‘Portrait of a Young Lady of Quality”. 
The young lady became afterwards Lady Barbara Ponsonby. 
Exhibited at “Les Dessinateurs Anglais”, Paris, 1919. No. 37; “‘Les 
Enfants Anglais’, Paris, 1922. No. 34. 
Claude Ponsonby Collection. 


94 


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CHARLOTTE JONES 
1768-1847 


Charlotte Jones is the fashionable artist who had the appointment of min- 
tature painter to the Princess of Wales, and must not be confused with 
Emma Jones, a somewhat older artist, who also executed portraits and 
groups of children in a similar fashion at a period slightly later. 

The rarity of her works naturally enhances their value. No collection 
of British drawings ought to be without an example of this typical artist 
of the beginning of the nineteenth century. 


146 STUDY OF A WOMAN AND A GREYHOUND DOG 


A delightful life study in sanguine and black crayon. 


to On coarse buff paper. Size, 12 x 834, inches. 
z 


Fairfax Murray Collection. 


ANGELICA KAUFFMANN 
1741-1807 


Angelica Kauffmann painted many pastels, and so strong is the influence 
of Rosalba that, were it not for the costume and the type of the ladies and 
children of the English aristocracy that she painted, her work might well 


_be mistaken for that of one of the great Italian’s pupils. Her paintings are 


numerous and well represented in collections of the art of this period. 
Her pictures have been popularized in engravings. Ryland, Bartolozzi and 
Schiavonetti reproduced her works, while Boydell published no less than 
sixty of them. 

Angelica was the daughter of John Joseph Kauffmann, and was born in 
1741 at Coire, the capital of the Grisons. Her father destined her for art, 
and took her to the Academy in boy’s clothes. In 1765 she came to England 
with the wife of the English Ambassador, whom she had met in Venice. 
Her perfect manners, her education, her elegance and her talent pleased 
the young Queen and her Court. She decorated a room for the Queen at 
Frogmore, in which some of her flower groups are still to be seen. In 1769 
she was made a member of the Academy. 

In 1780 she married a Venetian artist, Antonio Zucchi—her first mar- 
riage had been a failure. She kept the name she had rendered famous, and 
with her husband retired in 1782 to Rome. Much féted in the Eternal 
City, she lived there for twenty-five years, and died, after a long and pain- 
ful illness, in 1807, at the age of sixty-seven. 


95 


[147] 


ANGELICA KAUFFMANN 
1741-1807 
147 BUST OF A LADY 
In profile to the left. She is dressed in a yellowish dress, edged by 
black lace, with a black sash round the waist. The face shows classi- 
cal features. Her hair is blond and unpowdered. Lovely curls are 
twisted in a chignon. The eyes are dark blue. The ears can be 
seen slightly. 
Painted delicately in pastel, on paper. Oval. Size, 11 x 9 inches. 
A typical example of Angelica Kauffmann’s small pastel work. 
Exhibited at The British Drawings Exhibition, 1920. No. 40. 
Ernest Renton Collection. 


96 


JOHN KAUFFMANN 
DIED 1782 


] John Kauffmann, the father of Angelica, and her first teacher, executed 
many drawings and small pastels, very often of sacred and poetic subjects, 


148 MATERNITY 

_ A finished drawing. This is probably the first idea of the engraving. 
/= Water colour on paper. Oval. Size, 1114 x 9 inches. 

a “An important composition.” 


149 PORTRAIT OF THE HEAD OF A LADY 
Charcoal and wash drawing, on paper. Oval. Size, 814 x 714 inches, 
SE. Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 132; Zurich, 
1920. No. 58. 
Ernest Renton Collection. 


TILLY KETTLE 
1740-1786 


Tilly Kettle was a delightful portraitist who has left us some rare pastels. 


150 PORTRAIT OF AN OFFICER 
: . A silhouette pastel of a naval officer in uniform, in profile, wearing a 
: gr coloured wig. A strong and frank face, looking to the left. 
: Cut out, and the figure replaced, to give depth, according to the 
fashion of the period. 
On paper. Oval. Size, 6 x 434 inches. 
a Exhibited at “Les Dessinateurs Anglais”, Paris, 1920. No. 4J 
Ernest Renton Collection. 
“A splendid little example of the art of the period.” 


[SEE ILLUSTRATION, PAGE 98] 
97 


[150] [151] 


SIR EDWIN LANDSEER 
1802-1873 


Sir Edwin Landseer executed, especially in his early period, many portraits 
and small water colours done with a broad brush and very pleasant colour. 

Landseer was the youngest son of John Landseer, A.R.A., and was born 
in London in 1802. He entered the Royal Academy Schools at the age of 
fourteen, having had his gift for drawing cultivated by his father from his 
very earliest years. At the age of twenty-four he was elected an associate 
of the Royal Academy, and in 1831 he was elected an Academician. In 
1855 he declined the presidency of the Academy. 


151 PORTRAIT OF A GENTLEMAN 
This portrait is a bust to the waist, of a man sitting three-quarters 
to the right, nearly full face, looking front. He is wearing a brown 
frock-coat, black folded collar, yellow waistcoat, black silk tie, white 
shirt. He has curly light-brown hair and blue eyes. 
Water colour on thick paper board. Size, 65 x 5%, inches. 
Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 133; Zurich, 
1920.7 Nor 59; 
Sidney Cooper, R.A., Collection. 
“A typical example of that part of pictorial activity of the famous 
animal painter—a very interesting work of art.” 


[SEE ILLUSTRATION | 


98 


153 


Eo- 


[152] [153] 


WILLIAM LAWRANSON 


William Lawranson, son of the portrait painter, Thomas Lawranson, 
painted genre pictures and executed portraits in London at the close of the 
eighteenth century. 


152 PORTRAIT OF A LADY—SILHOUETTE 


A most interesting pastel, on paper made out of two pieces of dif- 
ferent sheets, one applied on the top of the other, to get the depth. 
Oval. Size, 934, x 73% inches. 

Exhibited as a typical example of this kind of work at the Exhibition 
of English Pastellists of the eighteenth century, Paris, 1911. No. 166. 
Ernest Renton Collection. 

“A perfect little work of a type very representative of its kind.” 


PORTRAIT OF LADY SEATED IN A GARDEN 

This picture was chosen as representative of the master to be ex- 
hibited at the Exhibition of English Pastellists, Paris, 1911. No. 75. 
It was reproduced as a full-page illustration in “English Pastels”, 
London, 1911, page 337. 

Pastel on paper. Oval. Size, 1244, x 1014, inches. 

Ernest Renton Collection. 


99 


SAMUEL LAWRENCE — 
1811-1884 


He was born in 1811. He first contributed to the Society of British 
Artists in 1834, and to the Royal Academy in 1835. 


154 DRAWING: MISS SOMERVILLE al 
Charcoal and flesh tints in water colour on paper. Size, 14 x 95% 


an inches. 


3) a 


Signed at bottom right, “Samuel Lawrence’, and inscribed by the 
artist at bottom left, “Miss Somerville’. 

Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 136; Zurich, 
1920. No. 61. 


SIR THOMAS LAWRENCE 
1769-1830 


We have already pointed out the importance of Sir Thomas Lawrence as a 
pastellist and a draughtsman in the book on “English Pastels” published 
in 1911. It is to be remarked that the first exhibit of the artist, in the 
Academy of 1787, was a small oval pastel entitled the “Mad Girl’. Fora 
good length of time he continued the practice he had started in Bath of his 
world-famous tinted drawings, the type of work imitated hundreds of times 
by contemporary artists, and even more often since. 

These drawings were executed by the artist either as pert or for 
reproduction. The pastels are really sketches for bigger pictures, drawn 
in black and white chalks in a very direct though graceful and strong man- 
ner, the colour rich but still subdued. In fact these portrait drawings are 
exceedingly clever pieces of portraiture which well deserve to rank next 
to the larger masterpieces of the President of the Academy. 


155 PORTRAIT OF A LADY 
Head and shoulders, facing front. Head three-quarters to the right, 
looking right. Smooth round face with straight nose. Curly hair, 
with curls on forehead. 
Pencil tinted white chalk on yellow paper. Size, 4 x 31% inches. 


156 PORTRAIT OF A LADY 
Pencil tinted on yellow paper. Size, 834, x 614, inches. 
Braithwaite Wilson Collection. 
Martin H. Colnaghi Collection. 
Fairfax Murray Collection. 


“A very fine and typical example of the great President, in splendid. 
state of preservation.” 


[SEE ILLUSTRATION | 
100 


[156] 


etn el § ee a 


/0- 


JOHN JAMES MASQUERIER 
1778-1855 


It may without hesitation be asserted that after the death of fussell, 
Masquerier was the foremost pastellist of his time. His works are rare, 
for a matter of two or three score of pastel portraits of importance and one 
hundred drawings hardly suffice to make a name. 

Masquerier at his best reaches real greatness. Almost entirely free 
from artificiality and sentimental elegantism, his art is all simple — 
grace, unaffected dignity, instinct with humour and breezily healthy. He 
has left to us some of the loveliest women and most eminent men of his day, © 
rendered with great fidelity and consummate art and waren 2! with pro- 
found and acute perception of character. 

The prices fetched by some Masqueriers lately have been tremendous. 
His tinted drawings equal in commercial value those of Lawrence, Cosway, 
Downman, Edridge, Pope and Buck. 


157 PORTRAIT OF THE ARTIST IN HIS ELEVENTH YEAR (1789) 
FROM A BUST. 1830 
Drawn by the artist himself from a small marble bust executed in | 
Paris, 1789. 

Sepia water colour drawing on paper. Size, 101% x 7 inches. 
Inscription at bottom of picture: “J. J. Masquerier in his 11th year, 
1789”. 

Sale at Christie’s, January 19, 1878. Lot 72. 

Burdett-Coutts Sale, London, 1922. Album 1. 

Listed on page 155, mentioned on page 217, and illustrated in frontis- 
piece of ‘“Masquerier and his Circle’, by R. R. M. Sée. London, 1922. 


158 PORTRAIT OF SIR FRANCIS BURDETT, BART. 1835 
VERSO. STUDY OF SAME 
The well known politician; father of Baroness Burdett-Coutts. 
Both small pastels, one each side of tinted paper. Size, about - 
10 x 6% inches. 
Inscription in pencil at bottom of recto, “Sir Francis Burdett’. 
Sale at Christie’s, January 19, 1878. Lot 72. 
Burdett-Coutts Sale, London, 1922. Album 1, pages 3 and 4. 
Mentioned on pages 156 and 184 of ‘“‘Masquerier and his Circle’’. 
‘Most important drawing, of fine quality and capital historical 
interest.” 


102 


TT te cre, 


[170] 
[160] 


[161] 
[159] 


159 


JO - 


160 


hie 


J. J. MASQUERIER 
1778-1855 


PORTRAIT OF MISS CLARA BURDETT. 1855 : 
Clara Maria, sister of Baroness Burdett-Coutts. Married to the Rev. 
James Drummond in 1850. 
Chalk drawing on paper, tinted in water colour ine collar in 
Chinese white. Size, 1014, x 6% inches. ! 
Inscription in bottom left corner, in artist’s writing, “Miss Clara”. 
Christie’s, January 19, 1878. Lot 72. 
Burdett-Coutts Sale, London, 1922. Album 1, page 7. 
Mentioned on pages 156 and 184 of “‘Masquerier and his Circle”. 
One of three small pastels of Miss Clara Burdett—-see the next two 
numbers. 

[SEE ILLUSTRATION ] 


PORTRAIT OF MISS CLARA BURDETT. 1835 
Clara Maria, sister of Baroness Burdett-Coutts. 
Chalk drawing on paper, tinted in water colour, and touched with | 
Chinese white. Size, 914 x 614 inches. 
Sale at Christie’s, January 19, 1872. Lot 72. 
Burdett-Coutts Sale, London, 1922. Album 1, page 8. 
Mentioned on pages 156 and 184 of “Masquerier and his Circle”. 
One of three small pastels of Miss Clara Burdett—see preceding and 
following numbers. 

[SEE ILLUSTRATION | 


PORTRAIT OF MISS CLARA BURDETT 
Clara Maria, sister of Baroness Burdett-Coutts. 
Chalk drawing on paper, tinted in water colours and touched with 
Chinese white. Size, 1014 x 7 inches. 
Sale at Christie’s, January 19, 1872. Lot 72. 
Burdett-Coutts Sale, London, 1922. Album 1, page 9. 
Mentioned on pages 156 and 184 of ‘““Masquerier and his Circle’. 
One of three small pastels of Miss Clara Burdett—see preceding 
numbers. 

[SEE ILLUSTRATION ] 


104 


[167] [171] 


JO a3 


162 


163 


Vf O ws 


JO 


164 


J. J. MASQUERIER 
1778-1855 


PORTRAIT OF CHARLES MATHEWS. 1835 

Son of James Mathews, bookseller, and local Wesleyan preacher. 
Chalk drawing on paper. Size, 94%, x T inches. | 

Inscription at bottom centre, “Charles Matthews”’ (sic). 

Sale at Christie’s, January 19,1872. Lot 72. 

Burdett Coutts Sale, London, 1922. 

Mentioned on pages 156 and 217 in ‘‘Masquerier and ris Circle” 
Illustration in the same work, Plate LII. 


[SEE ILLUSTRATION ] 


PORTRAIT OF HENRY CRABB ROBINSON. 1834 

H. C. Robinson (1775-1867), diarist. 

Chalk drawing on pinkish paper. Size, 94, x 634, inches. 

Inscription at bottom in pencil, “H. C. Robinson’. 

Sale at Christie’s, January 19, 1878. Lot 72. 

Burdett-Coutts Sale, London, 1922. Album 1, No. 12. 

See references on pages 156 and 228 and illustration, Plate LII, in 
“Masquerier and his circle’. 

“A very important drawing of fine quality, especially interesting on 
account of the personality of the sitter.” 


[SEE ILLUSTRATION ] 


PORTRAIT DE VELASQUEZ PEINT PAR LUI-MEME 
Copy of the portrait of Velasquez (by himself) 1599-1660, from the ~ 
original in the Louvre. 

Pastel on shaded paper. Size, 1114 x 814 inches. 

Inscription in Masquerier’s handwriting: ‘Portrait de Velasquez 


peint par lui-méme. Sketched from the original in the Louvre 
Heenan hee 


106 


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oe, 
* . ry 


4, Greet yor VAsigi wing Ttieat Et Lois wed pe ; 
: . ‘ ie: \ = a? — 


165 


166 


167 


/o- 


J. J. MASQUERIER 
1778-1855 


STUDY OF TWO YOUNG GIRLS 


VERSO. PORTRAIT OF SIR EDWARD CODRINGTON. 1835 


Sir Edward Codrington, K.C.B. (1770-1851). Grandson of Sir Ed- 
ward Codrington, first baronet. Took part in the battle of Trafalgar. 
Recto. Two young girls, to waist, facing one another. 

Probably the daughters of Sir Edward Codrington. 

Pastels on tinted paper. Size, 111% x 81% inches. 

Verso. Inscription under portrait in pencil, “Sir Edward Codring- 
ton”. 

Sale at Christie’s, January 19, 1878. Lot 72. 

Burdett-Coutts Sale, London, 1922. Album 1, No. 14. 

Mentioned on pages 156 and 188, ‘“‘Masquerier and His Circle’. 
“This drawing is as fine as any of those of the same period by Sir 
Thomas Lawrence.” 


PORTRAIT OF COLONEL BURNS. 1835 

Bust of Colonel Burns, son of Robert Burns, the Scotch poet. 

Chalk drawing on paper, tinted in water color. Size, 934, x 73% inches. 
Signature under drawing, in writing of Col. Burns, “W. N. Burns”. 
This drawing was contained in Masquerier’s souvenir book. 
Inscription in bottom right corner: ‘Col. Burns Son of Roberts 
Burns the Poet’. 

Sale at Christie’s, January 19, 1878. Lot 72. 

Burdett-Coutts Sale, London, 1922. Album 1, No. 15. 

See biographical notes on pages 158 and reference page 184 in 
“Masquerier and his Circle’. 


PORTRAIT OF MR. D. A. DURTNALL. 1838 

Pastel on paper. Size, 101% x 814, inches. 

Signed at bottom, “D. A. Durtnall 1838”. 

Contained in Masquerier’s own souvenir album. 

Sale at Christie’s, January 19, 1878. Lot 72. 

Burdett-Coutts Sale, London, 1922. Album 1, No. 16. 

Referred to on pages 156 and 192 of ‘““Masquerier and his Circle’. 


[SEE ILLUSTRATION ] 


107 


/0- 


168 


169 


170 


J. J. MASQUERIER 
1778-1855 


PORTRAIT OF SIR WILLIAM GRANT 

Sir William Grant (1752-1832). Master of the Rolls. 1776, appointed 
Attorney General of Canada. 

Indian ink drawing on paper, after the portrait by G. H. Harlow. 
Size, 12 x 93% inches. ‘a 
Sale at Christie’s, January 19, 1878. Lot 72. 

Burdett-Coutts Sale, London, 1922. Album 1, No. 17. 

Harlow’s portrait of Sir William Grant is well known through S. W. 
Reynolds’ popular engraving. 


PORTRAIT OF W. B. SPENCE, F.R.S. (1783-1860) 

Entomologist. Best friend of William Kirby with whom he wrote 
“Introduction to Entomology’. Founder of the Entomological 
Society, and President in 1847. 

His portrait in oil by the artist dates 1835. Engraved by W. Haddon. 
Three-colour chalk drawing, heightened in water colour, on paper. 
Size, 1014, x 71% inches. 

Inscribed on the right, ‘““W. B. Spence’’. 

Sale at Christie’s, January 19, 1878. Lot 72. 

Burdett-Coutts Sale, London, 1922. Album 1, No. 18. 

Described in ‘“Masquerier and his Circle’, page 233. 


PORTRAIT OF THE REV. J. SORTAIN 

A Brighton friend of the artist. 

Three-colour chalk drawing, heightened in water colour, on paper. 
Size, 11 x 81% inches. 

Inscribed at bottom, “‘Rev. J. Sortain”’. 

Sale at Christie’s, January 19, 1878. Lot 72. 

Burdett-Coutts Sale, London, 1922. Album 1, No. 19. 

Mentioned on page 155 of ‘‘Masquerier and his Circle’’. 


[SEE ILLUSTRATION ] 
108 


J. J. MASQUERIER 
1778-1855 


171 PORTRAIT OF CHARLES YOUEL 
Inscription as follows: 
“Du choc de l’ouragan preservé par le hétre 
Tu décrivis mes traits aux récits de fingal 
Pour le prix du talent qui fait vivre et renaitre 
i? fe Je te livre l’original 
9 Ch Youél 
2 Ruines de Semilly 7 juin 1835.” 
Three-colour chalk drawing, tinted in water colour, on paper. Size, 
85/4 x 534, inches. 
Sale at Christie’s, January 19, 1878. Lot 72. 
Burdett-Coutts Sale, London, 1922. Album 1, No. 20. 
Mentioned on page 242 of “Masquerier and his Circle’. The date 
is really 1832, while the inscription 1835 on the portrait was in- 
scribed by Youel three years later. 


[SEE ILLUSTRATION ] 


172 PORTRAIT OF MR. D. BRUCKNER. 1832 
Son of the Lutheran divine. 
Pastel on sepia paper. Size, 111% x 81% inches. 
Inscribed, “Briickner at Aix Chapelle’. 
Sale at Christie’s, January 19, 1878. Lot 72. 
Burdetts-Coutts Sale, London, 1922. Album 1, No. 22. 
Mentioned on pages 155 and 183 of ‘‘Masquerier and his Circle”. 


173 PORTRAIT OF COL. SCHEPELER. 1837 
Water colour and pastel on paper. Size, 114% x 8 inches. 

Inscription under portrait, in pencil: “Schepeler Colonel since the 
: battle at Albuera 1811.” 
| a, Oo Signed in bottom left corner: “ Aix-la-chapelle July 28. 1837 
| * Jaw. Mi.” 

Sale at Christie’s, January 19, 1878. Lot 72. 

Burdett-Coutts Sale, London, 1922. Album 1, No. 23. 
4 Listed on page 156 and mentioned on page 230 of ““Masquerier and 
i” his Circle’. 
See also portraits of Madame and of Mademoiselle Schepeler—the 
next two numbers. 


109 


J. J. MASQUERIER 
1778-1855 


174 MADAME SCHEPELER : ae 
Wife of Colonel Schepeler. oa 
Inscribed in the artist’s hand, “Signora Scheneiae 
Chalk drawing on paper, red, white and black, hetgntae in water 
colours. Size, 11 x 814 inches. 
Burdett-Coutts Sale, London, 1922. Album 1, No. 25. . 
vA O- Mentioned and described in ‘““Masquerier and his Circle’, page 230. 


175 PORTRAIT OF MLLE. SCHEPELER. 1835 
Young girl, daughter of Colonel Schepeler. 
He i= Water colour and pastel on paper. Size, 7 x 5 inches. 
Inscription in right bottom corner, ““Mademoiselle Schepeler”’. 
Sale at Christie’s, January 19, 1878. Lot 72. h 
Burdett-Coutts Sale, London, 1922. Album 1, No. 24. Ve 


Mentioned on pages 156 and reference page 230 of “Masquerier and 
his Circle’. 


[SEE ILLUSTRATION |] 


176. PORTRAIT OF MISS WARD. 1832 
ie Inscribed in artist’s hand, in bottom left corner, “Miss Ward”’. 
eae Chalk drawing, tinted in water colours, on paper. Size, 7 x 5 inches. 
Sale at Christie’s, January 19, 1878. Lot 72. 
Burdett-Coutts Sale, London, 1922. Album 1, No. 26. 
Mentioned in ‘‘Masquerier and his Circle’, page 155, and described 
on page 238 of. the same work. 


[SEE ILLUSTRATION ] 
110 


177 


JO 


178 


ie 


[176] [175] 


J. J. MASQUERIER 
1778-1855 


PORTRAIT OF ORIENTAL 

VERSO. PORTRAIT OF GENTLEMAN 

Pastel and water colour on tinted paper. Size, 11 x 81% inches. 
Burdett-Coutts Sale, London, 1922. 


PORTRAIT OF MURILLO 

Pastel drawing on paper, copied from an oil painting. Oval. Size, 
914 x 8 inches. 

The portrait has a most curious inscription by Masquerier. 

“The splendid portrait of Murillo, painted by himself, which adorns 
the gallery of Spanish pictures recently opened to the public in the 
rooms of the new Louvre, by command of the King of the French, 
was purchased at an obscure shop in Paris for ‘an old song’. We be- 
lieve there is no other portrait of this great master known, with the 
exception of that which is exhibited in the gallery at Florence.” 

At a later date, Masquerier adds the following note: “N.B. This is 
not the fact, the present Portrait was bought from Mr. Williams, 
vice Consul at Seville, and there is a much finer one at Petworth 
house. Oct. 3.1830. J.J. M.” 

The whereabouts of the original of this portrait is to-day unknown. 


lil 


F179 


J. J. MASQUERIER 
1778-1855 


PORTRAIT OF MISS MEREDITH WHEN YOUNG 
Afterwards Mrs. Brown. The life-long companion of Baroness 
Burdett-Coutts. 

Crayon drawing on paper. Size, 1634, x 1234, inches. 

“T have carefully examined this drawing and in my opinion it is the 
finest work by the artist executed in the thirties, and finer than any 
Lawrence tinted drawing, being much more powerful. R. R. M. SEE. 
Burdett-Coutts Collection. 

Described in “Masquerier and his Circle”, page 218. 


112 


. AAS EACH = 


SALE FRIDAY EVENING, JANUARY FOURTEENTH, AT EIGHT-FIFTEEN 


SECOND SESSION 


NUMBERS 180-316 


[180] 


MEADOWS 


180 PORTRAIT OF BENJAMIN DISRAELI, LORD BEACONSFIELD 


YO ra 


Water colour drawing on paper. Size, 834, x 7 inches. 

This little picture is most important on account of the subject it rep- 
resents, and the high quality of the execution. 

Lord Tweedmouth Collection. 
Fairfax Murray Collection. 

“A very important little drawing. 


113 


99 


181 


182 


[181] x 


GEORGE MORLAND 
17638-1804 


LADY READING A BOOK 
Drawing in pen and ink, sepia and water colour, on paper. Size, 
914 x 714 inches. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 141; Zurich, 
1920. No. 62. 

Charles Newton Robinson Collection. 

“A very important and charming drawing.’ 


’ 


[SEE ILLUSTRATION ] 


GEORGE MORLAND 
[ATTRIBUTED TO | 


THE IDLE PEASANT 

In the centre, leaning against the root of a tree, seated three-quarters 
to the right, a peasant in sleeveless coat, breeches, open neck, broad- 
brimmed hat. 

Pencil on paper. Size, 834, x 1234 inches. 

Ernest Renton Collection. 


114 


Ths eee ag 
ee ine 


_pratn ne oe Sec 


7) ,& ~ 


[183] 


JAMES NORTHCOTE 
1746-1831 


James Northcote has left many small, highly finished water colours, prob- 
ably documents for his pictures; such is the portrait of the Earl of 
Mansfield reproduced here. In appearance it is not unlike the work of the 
Russell family. 


JAMES NORTHCOTE 
1746-1831 


183 PORTRAIT OF THE EARL OF MANSFIELD, LORD CHANCELLOR 
This celebrated judge is seated in his judicial armchair. A full 
bottomed wig frames his intelligent and forcefull face. The arms 
are raised on the side of the seat. 
The corner of a table is seen on the right, upon which are papers 
SS and documents. One of these can be read—‘“The Earl of Mans- 
field’. 
Water colours on paper. Oval. Size, 5 x 4 inches. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 143; Zurich, 
1920. No. 64. 
Sir Thomas Lawrence, P.R.A., Collection. 
Sir Charles Robinson Collection. 
Charles Newton Robinson Collection. 
“A most wonderful little picture, full of life and quality.” 


att o- 


[SEE ILLUSTRATION ] 
115 


[185] [184] 


COUNT D’ORSAY 
1801-1852 


184 SIR EDWIN LANDSEER . | 
Pencil and sanguine on paper. Size, 814 x 7 inches. a 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 144; Zurich, . 
1920. No. 65. & 
Sidney Cooper Collection. 3 
Ernest Renton Collection. | 


[SEE ILLUSTRATION ] 


WILLIAM OWEN es 
1769-1825 


William Owen, the well known portraitist, has left us many sketches of his 
larger portraits. These he generally executes in coloured chalks, sketching 
lightly. his outline in pencil and finishing up his subject. here and there, 
making it as complete a document as possible for his picture. 


185 PORTRAIT OF A LADY 
Conté crayon, water colour drawing, on paper. Oval. Size, 11x 9 
inches. 
Sir Tollemache Sinclair Collection. 
Ernest Renton Collection. 


[SEE ILLUSTRATION ] 
116 4 


= 
= 


ie EDMUND THOMAS PARRIS 
* 1793-1873 


a Edmund Thomas Parris, had he not been attracted by that early nineteenth 
ee tury fad of historical painting, which in his case was doubled by pano- 
— rama painting, would have been one of the most delightful water colour 
 portraitists of the early Victorian era. We would go further and say that, 
had he been fifty years earlier, with his extraordinary talent he would have 
_ been a worthy rival of Sir Thomas Lawrence. His charming little gems 
have a wonderful breadth and atmosphere. 
We reproduce here two similar portraits o f Mrs. Campbell as Desdemona 
_ tm typical attitudes of the famous actress, executed in black chalk and 
_ sanguine. The high efficiency of the artist as a draughtsman, and the 
elegant line he obtained with very simple materials, are conspicuous here. 
} Drawings by Parris deserve the attention of all clever collectors, as he is 
a one of those men who must be more and more appreciated as time goes on. 
_ He was born in 1793. He first exhibited at the Academy in 1816. From 
1825 to 1829 he was engaged on the gigantic panorama of London for the 
— Coliseum in Regent’s Park which was afterwards removed to New York. 
ey HT e was appointed historical painter to Queen Adelaide in 1838, and on the 
accession of Queen Victoria he painted her coronation and also a portrait 
“ae of the young Queen. He undertook the work of resorting the pictures of 
_ Sir James Thornhill in the dome of St. Paul’s from 1853 to 1856. He died 
ain 1878. 


186 A LADY SEATED. 1820 
Full length, three-quarters to the left. Long full dress, with sleeves 
very full to the elbow and then tight to the wrist—low necked, high 
waisted. The lady is seated at the end of a high-backed sofa, with 
her feet crossed and her hands clasped in her lap. Round her neck 
oy” a black ribbon from which hangs a pendant. Head three-quarters 
to the right, inclined right and down, looking down. Delicate com- 
g plexion, small red mouth, hair dressed in ringlets on either side of 
face. 
| i Pencil drawing, fleshes in sanguine, on paper. Size, 1214. x 91% inches. 
is Signed at bottom right, “E. T. Parris 1820.” 

3 Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 149; Zurich, 

1920. No. 67. 


187 SKETCH OF A WOMAN’S HEAD FROM THE BACK 
= Low-necked dress, showing a pretty neck and shoulders—round the 
Jf 27st neck a black ribbon. The back of the head is shown with black 
% hair drawn up into a chignon on top and fastened with a large 
comb; on either side short curls. Long earrings. 
Black chalk and sanguine on paper. Size, 6 x 5% inches. 


117 


a 


= 


188 


189 


[189] [188] 


PORTRAIT OF MRS. CAMPBELL AS DESDEMONA 

Full length, facing front. Long dress to ground, high waisted with. 
girdle, fastened over left shoulder, leaving right shoulder bare. Arm- 
let on left arm. Bare feet, in sandals. Head in profile, right. Fine 
clear-cut face with dark eyes. Dark hair done in classical style with 
diadem in front, bound with fillet ribbons, and dressed in chignon at 
back. 

The actress holds her left hand to her chin while her right rests on 
draperies on left. 

Black chalk and sanguine on paper. Size, 11 x 614 inches. 


PORTRAIT OF MRS. CAMPBELL AS DESDEMONA 
Full length, facing front. Head three-quarters to the right, looking 
down. Right foot crossed over left. Chin held in left hand. Right. 
arm lying loosely on drapery. Same clothes and headdress as in the 
preceding portrait. 
Black chalk and sanguine on paper. Size, 11 x 634, inches. 
Signed at bottom left, “E. P. Feb. 1935’’. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 148; Zurich, 
1920. No. 66. 

[SEE ILLUSTRATION ] 


118 


PARS 


The brothers Henry (1734-1806) and William Pars (1742-1782) both 
executed small portraits in water colour and pastel, apart from their draw- 
ings of landscapes and antiquities. There was also a Miss Pars, who was 
an honorary exhibitor at the Academy in 1776. 
"i ’ 

190 PORTRAIT OF A GENTLEMAN 
 Half-length portrait of a gentleman in blue coat, with white waist- 
coat, white lawn tie and collar. His wig is powdered. He is facing 
profile to the left. Blue eyes, an Irish nose and mouth. 
i Pastel on paper. Oval. Size, 934, x 714, inches. 

_ ‘There are several small spots on the face which could easily be re- 

~ moved with a stump leather. 

O'Neill Collection. 


ee ew WILLIAM PETERS 
| 1742-1814 


i. Much of what had to be said about that delightful painter who became a 
ergyman and not, as.so many still believe, the cleric who preferred the 

Tight muslin garments of half naked ladies to the holy cloth, has been 

prettily studied by Lady Victoria Manners in her book on Peters. 


MATTHEW WILLIAM PETERS 
1742-1814 


HEAD OF A YOUNG GIRL 

The head is three-quarters to the right, looking front. She has a 
soft, round face, with full red lips; large brown eyes, and very curly 
fair hair, under a large, white hat. 

Pencil sketch, tinted in water-colour, on paper. Size, 6% x 534 
inches. 

Ernest Renton Collection. 

“A perfect little picture.” 


PORTRAIT OF A LADY 
Bust, facing left. The lady is seated in an armchair. The head is 
three-quarters to the left. She has a full face, snub nose, and bright 
dark eyes. She wears an extremely elaborate hat, trimmed with 
wide ribbon and flowers. The hat has side-pieces, coming down over 
the ears, so as to cover completely the side of the head. 

Pencil on paper. Size, 8 x 614 inches. 

Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 156. 


119 


19 


[193] 


PORTRAIT OF MRS. HADDEN BROWN 

Pencil and water colour, on paper. Size, 103% x 732 inches. 
Exhibited at ‘Les Dessinateurs Anglais’, Paris, 1919. No. 46. 

This is the original sketch of the famous masterpiece by Peters now 


in the Whittouck Collection, which is reproduced in “English Pastels” 
as a full-page illustration, page 161. 


“An important drawing, full of charm and quality.” 


120 


oe 


wy 


Migr —aee 


omens [194] 


MATTHEW WILLIAM PETERS 
1742-1814 


(194 STUDY FOR A LADY’S PORTRAIT 
Pencil and coloured chalks, on paper. Size, 934 x 7 inches. 
Exhibited at “Les Jolies Anglaises du XVIII¢ Siécle’, Paris, 1914. 


f- 


: No. 45. 
| “ 2 Sir Tollemache Sinclair Collection. 
| we “A very free and forcible sketch by the master.” 


yy ve “Very likely a sketch for the Duchess of Ruthland’s portrait.” 


[SEE ILLUSTRATION ] 


¥ Three-quarter length, seated facing front. Her right arm rests on 
./ her lap. Her left elbow is on the back of the seat, with hand sup- 
lJO=— 


195 PORTRAIT OF A LADY 
: porting chin. 


| Pencil and water colour sketch, on paper. Size, 8V, x T% inches. 
H Exhibited at “Les Jolies Anglaises du XVIII® Siecle’, Paris, 1914. 
No. 42. 


121 


[196] 


HENRY WILLIAM PICKERSGILL, R.A. 
1782-1875 


i 


Pickersgill is one of the best pupils of Lawrence and his drawings, especi- * 
ally his early ones (at least those done for portraits), are really good lke- 
nesses, full of life. They can indeed be considered as real works of art, 


attaining as they do the quality of any of the greater masters of his 
period. 


196 SELF-PORTRAIT 
Wash background; on the right, a table. 
Pencil and water colour on paper. Size, 11% x 1034, inches. 


[SEE ILLUSTRATION ] 
122 


-ALEXANDER POPE 
1763--1835 


_ Alexander Pope appears to have been born in Cork, in 1763. His name 


e is to be found as early as 1776 in the roll of the Dublin Art School, at 


which time Francis Robert West was occupying the post of Professor of 


: Drawing. We find him in 1777 and 1780 sending to the Society of Artists, 


in William Street, Dublin, both drawings and small portraits. Soon after 
this he returned to his native town of Cork, where he practised his art for 
several years. 


— Drawings belonging to Pope’s early period are often carried out com- 


7 + | pletely in water colour, as in the case of that delightful little oval of the 
a Misses Moneyhill at the Spinet. Here the artist, working almost as if exe- 
= cuting a miniature on paper, as fully bearing in mind the precepts of the 
- miniature painter working on iwory or vellum; here are the blue shadows, 
_ 80 beloved of Cosway, Engleheart, and Plimer, though there is no use, at 


this time, of the method of sable stippling, which he seems to affect more 
at a later period. 


In private life, Pope is said to have been quite a dandy, and many stories 


ae | are told of his fastidiousness and epicurian tastes in regard to the pleasures 


ie eet eA 


of the table. Indeed, his gourmandising propensities are partly responsible 
for the financial straits in which he found himself at various times. In 
a letter to Edmund Kean, who offered him an engagement for the Dublin 


season on very advantageous terms, he writes: . . . “must be at Plymouth 


at the time; it is exactly the season for mullet!” Through the bequests of 
his wives (he was married three times), he came into a considerable 
amount of property, but a consistent course of good living quickly dis- 
persed this. He died in his house in Store Street, Leicester Square, in 


~ March, 1835. 


197 PORTRAIT OF LADY ROMILLY 
A three-quarter length portrait shows Lady Romilly seated facing 
left, her right hand on her knee and her left elbow on the chair back, 
turning her head and bust to face the artist. The dress is only indi- 


3 "4 2“ cated in pencil—high waisted, square décolleté, long sleeves, a neck- 


lace and pendant. 

Pencil and water colour on paper. Size, 914, x 634, inches. 
Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 162. 
“A capital and representative work of the master.” 


123 


[198] | 


ALEXANDER POPE 
1763--1835 es 


198 PORTRAIT OF MRS. WESTBY, AFTERWARDS LADY 
LYNDHURST 
Water colour and pencil on paper. Size, 634, x 55% inches. 
Inscribed by the farmer, “Lady Lyndhurst’. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 159; Zurich, 
1920. No. 738. 


Ernest Renton Collection. 
Illustrated on page 133 of ‘The Connoisseur” for November, 1919. 


oer 


RS 


199 PORTRAIT OF AN UNKNOWN LADY. 1815 

Bust with landscape background. “4 

- Pencil and water colour on paper. Size, 844, x 7 inches. | 
Signed in the bottom right corner, “A. Pope 1815”. 
Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 166; Zurich, 
1920. No. 75. 
“A very charming and genuine work.”’ 


“ee 


[SEE ILLUSTRATION ] 4 
124 3 


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= 


| ea subasmncenniememanannesy 


| | Digammeas 


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. 

Mi cae Sc nei es ae ah Ba Ex: 

epee cSabear elder tetenranatomearmcaran 


ALEXANDER POPE 
1763--1835 


PORTRAIT OF MISS ELIZABETH PONSONBY. 1810 
Water colour and pencil on paper. Size, 65/2 x 55 inches. 
Ernest Renton Collection. 
Illustrated on page 135 of ‘““‘The Connoisseur”, Vol. LV, No. 219. 
Could make a pair with Lady Lyndhurst (See Number 198). Same 
period and quality. 

[SEE ILLUSTRATION | 


MRS. JAMES ADAM WHEN CAROLINE WHEATLEY. 1815 
(Sketch of dear Caroline, by A. Pope) 
Sister of Pope’s third wife, widow of Francis Wheatley, R. A. 
Plumbago and water colour on paper. Circular. Size, 38% x 3% 
inches. 
Signed in artist’s hand, “Sketch of dear Caroline by A. pS ote but 
the present frame covers this inscription. 2 
Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 169; “Les 
Enfants Anglais’, Paris, 1922. No. 44. 
Illustrated on page 135 and described on page 136 of “The Connois- 
seur’’, Vol. LV, No. 219. 
“A real masterpiece.” 

[SEE ILLUSTRATION ] 


125 


ALEXANDER POPE 
1763-1835 


202 THE MISSES MONEYHILL AT THE SPINET 
Water colour on paper. Oval. Size, 634, x 514 inches. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 165; Les En- 
fants Anglais’, Paris, 1922. No. 45. 


See reference on page 137 and illustration on page 134 of “The Con- 
noisseur” for November, 1919. 
“A real museum piece.” 


126 


[204] 


SEES :SC TT TE aie i 


[203] 


203 


UY ~ 205 


ALEXANDER POPE 
1763-1835 


PORTRAIT OF THE ARTIST’S WIFE (M. A. CAMPION) 

Pope married three times. His first wife Elizabeth Younge died in 
1797 and was buried in Westminster Abbey. Ten months later the 
actor-artist married a young and pretty Irish widow of Waterford, 
also an actress, Mrs. Spencer, known on the stage as Maria Ann 
Campion. This marriage was of short duration—Miss Campion died 
in 18038 at the early age of 26 and was buried in Westminster Abbey 
in the same tomb as Pope’s first wife. The portrait of her by Shee, 
exhibited in the Academy of 1803, now hangs in the Garrick Club. 
Pencil and water colour drawing on paper. Size, 121% x 8 %nches. 
Signature in bottom right corner, ‘‘A P”’’. 

Exhibited at the Royal Academy, 1799. No. 705; ‘‘Les Maitres An- 
glais’, Paris, 1919. No. 168. 

Ernest Renton Collection. 

See article on Alexander Pope in “The Connoisseur” for November, 
1919, pages 131-139. Reproduced on page 136. 

“A very charming work.” 


[SEE ILLUSTRATION ] 


HEAD OF YOUNG GIRL: MISS ANNESLEY 

Water colour on paper. Size, 81% x 21% inches. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 167. 
Illustrated in ‘The Connoisseur’, for November, 1919, page 138. 
Reference iden, page 136. 

M. Rothschild Collection. 


[SEE ILLUSTRATION ] 


PORTRAIT OF MRS. OAKLEY 

Pencil and water colour on paper. Size, 1054 x 734, inches. 
Signed in left bottom corner, “‘A. Pope’. 

Exhibited at the Royal Academy, 1807. No. 422. 

Illustrated in “The Connoisseur”, for November, 1919, page 134. 
“An important work.” 


128 


PVH TE 


B. PYM 
18TH CENTURY 


 B. Pym, who exhibited regularly at the Academy up to 1793, and whose 
_ portrait of Banister in the Garrick Club is so well known, had a Ronareeh 
able practice in London. 


t 


206 PORTRAIT OF A YOUNG BOY 
_. Pastel on paper. Size, 914 x 714 inches. 
_ Exhibited at “Les Enfants Anglais’, Paris, 1922. No. 48. 


” Vo, 2 
Sia ALAN RAMSAY 

1713-1784 

The famous Scotch painter executed many drawings, mostly in pen and 
ink. He was the greatest portraitist at the beginning of the eighteenth, 
century in Great Britain, and whilst in his large portraits he was assisted. 
by many artists, he always made it a rule to do his drawings himself, and 
it is from those drawings that his assistants executed the work which he 
. himself generally looked over and finished, just as Reubens in the preceding. 
7 Cf century did in ers 


‘ZZ 


a 


er ee ee Pe Ere 
< i 
« 
Ly 7 
‘ 


207 PORTRAIT OF PEG WOFFINGTON, THE ACTRESS, AS A 
SHEPHERDESS 
Pen and ink on paper. Size, 123% x 73% inches. 
Dated in bottom left corner, “A° 1734”. 
Exhibited at ‘‘Les Maitres Anglais”, Paris, 1919. No. 171; Zurich, 
1920. No. 76. 
Sir Joshua Reynolds Collection. 
Sir Charles Turner Collection. 
Fairfax Murray Collection. 


FRANCES REYNOLDS 
1792-1807 


Frances Reynolds (youngest sister of Sir Joshua) is among the best of the 
English women pastellists. 


208 PORTRAIT OF A LADY 

Unfinished drawing of a lady’s bust, three-quarters to the right, full 
face, looking front. The face is the only finished part of the picture. 
Pastel on paper. Oval. Size, 8%, x 6% inches. 

Lord Amherst of Hackney Collection. 

Ernest Renton Collection. 


~~ > 


129 


SIR JOSHUA REYNOLDS 
1723-1792 


Sir Joshua Reynolds has produced some delightful portraits in chalk, all 
executed as sketches for his pictures. In contrast to his great rival Gains- 
borough, or his successor Lawrence, he did not execute drawings on paper 
or pastels. His are small impressions of his sitters, or studies executed 
during his journeys for the purpose of future work. None the less they 
well deserve the high value placed upon them, and their very rarity 1s a 
cause of the greater value attached by collectors to these direct productions 
of the great first President of the Royal Academy. 

Drawings by Sir Joshua hardly ever come into the sale room, as collec- 
tors jealously keep these rare pieces. 

In 1755 he was entered as a member of the St. Martin’s Lane Academy, 
London. He soon became a great success and moved in a set which in- 
cluded the most brilliant brains of that prolific period. In 1768 the Royal 
Academy was founded under his presidency. We are indebted to him for 
likenesses of Dr. Johnson, Goldsmith, Sterne, Sheridan and other great 
men of letters of that period, and for matchless theatrical portraits such 
as the “Mrs. Siddons as the Tragic Muse’, “Garrick between Tragedy and 
Comedy’, and “Mrs. Abingdon as the Comic Muse”. He exhibited for the 
last time in 1790, and in 1792 he died. 


SIR JOSHUA REYNOLDS 
1723-1792 


209 PORTRAIT: MOTHER AND CHILD 
The lady is shown in bust, facing right, holding her small boy to her 
bosom with her left arm. She wears a white dress with a black 
sash, and a wide white collar. Face three-quarters to the right, 
nearly profile. A smiling face with a long straight nose and a high 
forehead. Fair hair with reddish tinges, curled and worn in long 
curls on the shoulders. 
The boy faces front and has his head pressed against his mother’s 
throat. Small mouth, large eyes, reddish hair, cut in fringe on 
forehead. 
Background shaded on left. 
Black charcoal and sanguine on yellowish-white ribbed paper. Size, 
153% x 1214, inches. 2 
Exhibited at “Les Enfants Anglais’, Paris, 1922, No. 53. 


[SEE ILLUSTRATION ] 
130 


[209] 


Sen 


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k 
z 


oS 


pee 


3 


210 


SIR JOSHUA REYNOLDS 
1723-1792 


DRAWING: HEAD OF A YOUNG GIRL: OFFY PALMER 

The favorite niece of the great artist. 

Black, red and white chalks on blue-grey paper. Size, 11 x 8% inches. 

Sir Charles Turner Collection. 

Martin H. Colnaghi Collection. - ; 
Fairfax Murray Collection. 

In its old English carved frame,.a suitable companion for the por- 

trait of the Boy in the Black Felt Hat (Number 211). 


[SEE ILLUSTRATION ] 


PORTRAIT: THE BOY IN THE BLACK FELT HAT 


Black, white and red chalks on blue-grey paper. Size, 11x 83% 
inches. 


Martin H. Colnaghi Collection. 

Sir Charles Robinson Collection. 

Charles Newton Robinson Collection. 

This picture in its old English carved frame makes a suitable com- 
panion for the portrait of Offy Palmer (Number 210). 


[SEE ILLUSTRATION | 
132 


SAMUEL WILLIAM REYNOLDS 
By. 1773-1835 


< Samu e el William Reynolds the engraver has also executed many small and 
ur Bee seomrnce. His works are becoming more and more fashionable. 

as 

ee, 
ae oT 
: - PORTRAIT OF A YOUNG GIRL: HEAD 

ys Pencil drawing, tinted in white and red chalks, on canvas. Size, 
10% x 1314, inches. 
_ Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 176; “Les 
ia a Enfants Anglais”, Paris, 1922. No. 55. 

oF i Baroness de Forest Collection. 


an 


218 PORTRAIT OF A MAN 

Pencil drawing, tinted in white and red chalks, on canvas. Size, 
11 x 16 inches. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 177. 


PORTRAIT OF A MAN 

Pencil drawing, tinted in white and red chalks, on canvas. Size, 
1114 x 1414, inches. 

Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 178. 


PORTRAIT OF A YOUNG GIRL 

Pencil drawing, tinted in white and red chalks, on canvas. Size, 
11 x 13 inches. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 180; “Les 
Enfants Anglais’, Paris, 1922. No. 56. 


DRAWING OF A YOUNG GIRL WITH NECKLACE. AFTER 
LAWRENCE 

Water colour on paper. Circular size, 81 x 842 inches. 

Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 175; Zurich, 
1920, No. 79; “Les Enfants Anglais”, Paris, 1922. No. 57. 

Ernest Renton Collection. 


133 


[230] 


[217] 


SAMUEL WILLIAM REYNOLDS Ses ee 
1773-1835 


217 PORTRAIT OF A YOUNG GIRL WITH A ROSE 


Pencil tinted in water colour on paper. Size, 8 x 51% inches. | 
Exhibited at ‘Les Maitres Anglais’, Paris, 1919. No. 181; “Les * 
Enfants Anglais’, Paris, 1922. No. 58. | s 
“A lovely little drawing.” < ¥ 


[SEE ILLUSTRATION ] . 


218 PORTRAIT OF A LADY 


Pencil tinted in water colour on paper. Size, 6 x 43/, inches. 


Exhibited at ‘““Les Maitres Anglais’, Paris, 1919. No. 183; Zurich, 
1920. No. 82. 


JOHN FRANCIS RIGAUD, R. A. 
1742-1810 
219 PORTRAIT OF A LADY 
India ink drawing, tinted in sepia and water colour, on paper. 
53 X 334, inches. 


Signed with initials on the left bottom corner, “J. R.” 


Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 233. | 
Sir Charles Robinson Collection. 


Size, 


134 


220 


G/- 


[220] 


STEPHEN F. D. RIGAUD 
1777-1861 


Stephen F. D. Rigaud was the son of John F. Rigaud, and is the famous 
English water colour painter. 


KENSINGTON PARK. THE INFANT ENAMOURED OF HIS OWN 
REFLECTION 
A large park with a winding path in the centre. In the foreground 
is a rectangular trough full of water, sunk in the ground. On the 
left of the trough kneels a woman holding a baby over the water. 
On the right, a group of six persons, a woman seated against a tree 
holding on her lap a baby and surrounded by four small children. 
The kneeling woman on the left, facing right, wears a full brown 
dress with a red cloak; bare arms; face looking down, three-quarters 
to the right; fair curly hair under a Leghorn straw hat, trimmed 
and tied under the chin with a cherry ribbon. 
Water colour on board. Size, 171% x 2514 inches. 
Signed and dated on front right corner trough, “S Rigaud 1809”, 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 47; “Les 
Enfants Anglais”, Paris, 1922. No. 59. (Under the name of J. F. R.) 
Lord Tweedmouth Collection. 
Jules Porges Collection. 
“A very important picture”. 

[SEE ILLUSTRATION ] 


135 


[221] : 


ANDREW ROBERTSON 
1777-1845 


Water colour drawings and pencil sketches by Andrew Robertson are 
executed with a broad, elegant touch, the colour being added in bold masses. 
These little pieces are beginning to receive the attention they deserve from 


collectors. 


221 YOUNG GIRL WITH PARRAKEET: MISS CLEGG 
Water colour on paper. Size, 19 x 1834, inches. 
Exhibited at “Les Dessinateurs Anglais”, Paris, 1919. No. 13. 


[SEE ILLUSTRATION ] 


136 


ee 


PONS neat ean ge 


RP RE en cantare 


Sctataeeneecnammaniaee ana 


[222] 


GEORGE ROMNEY 
1734-1802 


222 PORTRAIT OF LADY HAMILTON AS A BACCHANTE 


Bust facing right. The bare right arm and shoulder are shown. 
The head is leaning on the right shoulder and looking up and to the 
right. The face of Lady Hamilton is as well known to art lovers as 
is that of a modern cinema star to the larger public. A tender 
virginal smile and soft eyes—giving no hint of the real nature of the 
woman who ruined so many men. Dark curly hair and a white cap. 
Sepia wash and gouache on paper. Size, 11% x 8'% inches. 


137 


i 
ok 


PETER ROMNEY 
17438-1777 


It is an illustrious name that follows a Christian name misleading in its 
obscurity: The name of Romney always seems as if it should be written 
in an article of art as “George Romney.” Herein les the misfortune of 
being at once an exquisite artist and the brother of a great master! The 
world has never accorded Peter Romney the recognition he deserved. 


Peter was endowed with all those qualities which constitute genius. The — ] 


two brothers loved one another with a tender fondness, and their mutual 


understanding was remarkable. With George’s guidance and stimulus, — 4 
Peter was soon qualified to share in the work of his elder brother, even in 


painting; in pastel he equalled the greatest masters in this graceful art. 
It must be noted how practically impossible it is to ER LALIRI LES between 
the works of the two brothers dating from this period. 7 


223 PASTEL PORTRAIT OF MISS JANE LONGWORTH = 
After his love affair with Miss Shuttleworth at Manchester in 1767, | 
Romney became amorous of Miss Longworth and it is about this time 
(1768-9) that he executed her portrait in pastel. 

Pastel on paper, stretched on canvas. Size, 91% x 71% inches. 
Signed with initials on right over sitter’s shoulder in pastel, “P. R.” 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 192; iaeae 
national Pastel Exhibition, Paris, 1911. 2 | 
Miss Romney’s Sale. 

Martin H. Colnaghi Collection. 

Illustrated on page 67 of “The Connoisseur” for Februsie: 1919. 
“A very beautiful portrait.” 


224 PORTRAIT OF MISS O’FLANAGAN 
Bust, facing front. Dark dress, broad white fichu, V-décolleté. } 
narrow black silk ribbon round neck. 

Pastel on paper. Size, 1034, x 7% inches. 

Exxhibited at “Les Dessinateurs Anglais’, Paris, 1919. No. 48. 


Full-page coloured illustration in “The Connoisseur” for February, 
1919. 


Miss Romney’s Sale. 
Martin H. Colnaghi Collection. 


[SEE ILLUSTRATION ] 
138 


PRO EN ee AT 


ee eid 


[224] 


[226] [228] 
PETER ROMNEY 
1743-1777 


225 PORTRAIT OF MISS SHUTTLEWORTH 


y / 
226 
CO 
227 
228 


Indian ink brush work on paper. Size, 7 x 51% inches. 
Miss Romney’s Sale. 


Martin H. Colnaghi Collection. 
Illustrated on page 70 of “The Connoisseur” for February, 1919. 


PORTRAIT OF MRS. RAVENSCROFT 
Pastel on paper. Size, 10 x 8 inches. 


Exhibited at ‘Les Maitres Anglais”, Paris, 1919: No. 196. Zurich, 
1920. No. 87. 


Miss Romney’s Sale. 
Martin H. Colnaghi Collection. 


[SEE ILLUSTRATION] 


PORTRAIT OF MRS. BENWELL 


Sepia drawing on paper. Size, 93% x TV, inches. 
Miss Romney’s Sale. 


Martin H. Colnaghi Collection. 


PORTRAIT OF MRS. MARSH 


Pastel, gouache and water colour on paper. Size, 11 x 8 inches. 


Illustrated on page 66 of ““The Connoisseur” for February, 1919. 
Miss Romney’s Sale. 


Martin H. Colnaghi Collection. 
[SEE ILLUSTRATION] 


140 


ipncnrnnreietgprencorinanantnattninnnninianh wena 


P.ROMNEY > 
MARY BENT FIELD 


PETER ROMNEY 
1743-1777 


229 PORTRAIT OF MARY BENFIELD 
Head and shoulders, three-quarters to the right. 
Bo - Reddish background. | 
Pastel, water colour and gouache on paper. Circular. Size, 6 x 6 
inches. 
Miss Romney’s Sale. 
Martin H. Colnaghi Collection. 
Illustrated on page 68 of “The Connoisseur” for February, 1919. 


— 


[SEE ILLUSTRATION ] 
141 


/o- 


SIR WILLIAM CHARLES ROSS 
1794-1860 


Walteom Charles Ross started very early to study with his father Henry o 
Ross, the miniature painter. He is probably the best known miniature 


painter of the Victorian period, having executed over two hundred of these 


small figures. In his drawings on paper, often first preparations for his . 
miniatures on iwory, he has the same quality as m his finished work. 


230 


231 


233 


PORTRAIT OF A LADY 

Bust, facing front. Face three-quarters to the right, looking right. 
Pencil and water colour on paper. Size, 7x 51% inches. 

Ernest Renton Collection. | 


[SEE PAI 


PORTRAIT OF TWO YOUNG GIRLS—THE MISSES SPENCER ~ 
Water colour on paper. Size, 121% x 8 inches. 

Exhibited at “Les Dessinateurs Anglais’, Paris, 1919. No. 51; “Les 
Enfants Anglais’, Paris, 1922. 

Ernest Renton Collection. 


[SEE ILLUSTRATION | 


PORTRAIT OF MISS FOOTE, THE ACTRESS, AFTERWARDS — 
COUNTESS OF HARRINGTON 

Charcoal stump heightened in water colour, on paper. Size, 14x 111% 
inches. | , 

Inscriptions: (a) On right below hair, half erased, ‘‘Oct. 4, 1833”; 
(b) Bottom right corner: “Miss Foote Covent Garden 1833” ; 
(c) On frame, bottom right corner, “Ross (Sir William) Portrait of 
Miss Foote. Covent Gdn afterwards Countess of Harrow”. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 198; Zurich, 
1920. No. 89. 

“A very fine work of art.” 


1794-1860 


PORTRAIT OF SIR THOMAS LAWRENCE. 1830 

Pencil tinted in water colour, on paper. Size, 11 x 8 inches. 

Signed middle right, ‘““W C Ross delint. 1830”. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 197; Zurich, 
1920. No. 88. 


142 


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236 


Le EE 


THOMAS ROWLANDSON 5 
1756-1827 


STUDY FOR A WOMAN’S HEAD 
Pencil tinted in water colour, on paper. Size, 234, x 2 inches. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 215. 


THE “OLE CLO’ MAN” 


Water colour on paper. Size, 614 x 334 inches. 
Exhibited at ‘Les Maitres Anglais”, Paris, 1919. No. 199 
1920. No. 90. 


Van Gogh Collection. 


~“ 


STUDY FOR AN ENGRAVING: “THE ITALIAN FAMILY” 
Pencil and water colour on paper. Size, 9 x 1234 inches. 
Signed with initials at bottom right, “T R”. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 206. 

“A wonderful drawing.” 


[SEE ILLUSTRATION ] 
144 


jovnbesavuonesasesovenacoidbeantsvarassovaseautaibtnostow inci 


[237 ] 


ANNE RUSSELL 
1781-1857 


Anne was the youngest and most talented of the daughters of John 
Russell; certain of her pictures are worthy of Rosalba. 


237 PORTRAIT OF MRS. MARTHA HIGGINSON AND CHILD. 1793 
Pastel on paper. Size, 91% x 1234, inches. 
VS - H. Colnaghi Collection. 


Ernest Renton Collection. 
“This is a copy of the larger well known pastel by John Russell. 


Some experts have thought it to be the work of J. R. Smith, in 
preparation for his engraving, but we believe it to be the work of 
John Russell’s daughter, Anne.” 


145 


[238] 


JOHN RUSSELL, R.A. ; 
1745-1806 


7 


John Russell, who has been the subject of an important monograph as far 3 
back as 1892 by Dr. George Williamson, has justly been termed the prince 4 
of pastellists. It is more interesting for us here to insist upon a less often 
studied side of his artistic life—his drawings in water colour and his 
sketches both in pencil and in crayon. The water colour drawings of 
Russell are going up in price parallel with the big rise in his pastel and oil 

work. 


238 THE LEE FAMILY 
Water colour sketch of John Lee, his wife and six children. 
dl Water colour on paper. Size, 7x 11 inches. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 229; “Les 
Enfants Anglais”, Paris, 1922. No. 64. 
Direct from the artist’s family. 
F. H. Webb Collection (great-grandson of the artist). 


[SEE ILLUSTRATION | 
146 


JOHN RUSSELL, R.A. 
1745-1806 


239 THE HIND FAMILY 


Water colour on paper. Size, 5 x 41% inches. 

Inscribed in pencil, lower right, “Mrs. Hind R.A. 1801”. (R.A. 1801 
is date of exhibition at Royal Academy.) 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 227: “Les 
Enfants Anglais”, Paris, 1922. No. 65. 

F. H. Webb Collection. 

“The finest water colour sketch by Russell, | ever saw up to now.”— 


R.R.M.S. 
147 


[240] 


JOHN RUSSELL, R.A. 
1745-1806 


240 PORTRAIT OF MRS. BATES 


Water colour on paper. Size, 914 x 7% inches. 
Exhibited at ‘‘Les Maitres Anglais”, Paris, 1919. No. 226; Zurich, 


1920. No. 100. | 
“A very interesting water colour, in fine condition.” _ ir f jg r- 
: 4 


[SEE ILLUSTRATION] |)» 7 0 
148 


241 


242 


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[241] [242] 


MARIA RUSSELL 
1783-1881 


Maria Russell made many sketches from nature, and copies in water colour 
from her father’s pictures. 


PORTRAIT OF A YOUNG GIRL 

Water colour on paper. Size, 6 x 334, inches. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 230; “Les 
Enfants Anglais”, Paris, 1922. 

F. H. Webb Collection. 

Purchased direct by Emile Gross from the great-grandson of John 
Russell, H. F. Webb. 


[SEE ILLUSTRATION ] 


THE LADY WITH THE SPOTTED VEIL 

Water colour on paper. Size, 4 x 3 inches. 

Exhibited at “Les Dessinateurs Anglais’, Paris, 1919. No. 54. 

“A studio sketch inspired by one of J. R.’s pictures.” 

Purchased by Mr. Gross from Mr. R. R. M. Sée, to whom it had been 
given by F. H. Webb, great-grandson of John Russell. 


[SEE ILLUSTRATION ] 
149 


ZA vi /= 
SIR MARTIN ARCHER SHEE, P.R.A. 


ft 


| oa 


JOHN SANDERS (OR SAUNDERS) 
1750-1825 (?) 


244 PORTRAIT OF A YOUNG GIRL 
Water colour drawing with traces of wash in the high lights, om 
paper. Oval. Size, 95% x 714 inches. 
Exhibited at ‘Les Maitres Anglais’, Paris, 1919. No. 231. 
1. Sir Charles Robinson Collection. 


[SEE ILLUSTRATION | 


1769-1850 


He had already made a fair start in his profession when he left — 


Ireland (where he was born) at the age of nineteen and took lodgings in a 


Southampton Street. He had practised for some two years when Sir Joshua 


advised him to enter the Academy Schools, which he did m4 1790. He tee x 4 


elected President on the death of Lowrengg. 


245 PORTRAIT OF A LADY 
Indian ink, tinted in water colour, on paper. Size, 3 x 214 inches. 
The right hand top corner of the paper has been clipped. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 232; Zurich, 
1920. No. 103. 


SAMUEL SHELLEY 
1750-1808 


Samuel Shelley, the miniaturist, has executed a great number of pencil — 


drawings and pen and ink drawings, where he shows a high talent as a 
draughtsman. 


246 PORTRAIT OF MISS LINWOOD 


st Drawing in pencil and tinted in sanguine, on paper. Size, 654 x 5 
tl inches. 
Exhibited at “‘Les Maitres Anglais”, Paris, 1919. No. 234; Zurich, 
1920. No. 104. 


Sir Charles Turner Collection. 


247 PORTRAIT OF MRS. TRAVERS 
In pencil and pen and ink; also water colour, on paper. Size, 71% x 
514 inches. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 235; Zurich, 
1920. No. 105. 


Lord Amherst of Hackney Collection. 
[SEE ILLUSTRATION | 


150 


[244] 


[247] 


[248] 


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xX 


os 


GEORGE SHEPHEARD 
1770 (?)-1842 


Some confusion exists in the dictionaries as to the life and work of George 
Shepheard. They all refer to his landscape work and his exhibits at the 
Royal Academy from 1811 to 1830. However, we have found drawings by 
him, for example the delightful drawing here reproduced, a sketch of a 
portrait of Jane Chantess, dated as early as 1791. 


248 PORTRAIT OF JANE CHANTESS. 1791 
Pen and ink drawing, washed all over with water colour, on paper. 
Size, 63 x 41% inches. 
Exhibited at “Les Enfants Anglais’, Paris, 1922. No. 68. 
Lord Tweedmouth Collection. | 
“A most charming and forcible little work of art.” 


[SEE ILLUSTRATION ] 


HENRY SINGLETON 
1766-1839 


Henry Singleton, who had been brought up by his two uncles William and 
Joseph Singleton, both miniature painters, naturally received artistic im- 
pressions at a very early age. Indeed, at the age of ten he is recorded as 
a genius at the Exhibition at Spring Gardens by the showing of his draw- 
ing in pen and ink of a “Soldier returning to his family”. This success 
gained him a scholarship at the Royal Academy. 


249 “COMEDY” 
Charming allegory. A study for the engraved picture. Probably 
inspired by Lady Hamilton. 
Pencil drawing, flesh and face tinted in water colour, on paper. Size, 
8% x 514 inches. 
Exhibited at the Singleton Exhibition, 1920. No. 10. 
Martin H. Colnaghi Collection. 
“A most important drawing, in very fine state.” 


[SEE ILLUSTRATION ] 


250 MISS SIMPSON 
Study of a three-quarter length portrait to the knees, exhibited at 
the Royal Academy, 1809. No. 414. 
Pencil and water colour drawing, on paper. Size, 834, x 53% inches. 
Maxtii H. Colnaghi Collection. 
“A very charming and important drawing.” 


[SEE ILLUSTRATION | 


152 


251 


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[249] 
HENRY SINGLETON 
1766-1839 


TWO CHILDREN—KNEELING AND SINGING 
A charming study, part of the picture “Infant Choir’. Exhibited 
at the Royal Academy, 1898. No. 18. 
Pencil and water colour on paper. Size, 684, x 514, inches. 
Exhibited at the Singleton Exhibition, 1920. No. 21. 
Martin H. Colnaghi Collection. 
[SEE ILLUSTRATION ] 


LADY HAMILTON 

Head and bust. Trial sketch for the picture engraved by C. Knight, 
and published June, 1815, by S. and J. Fuller. 

Pencil on paper. Size, 83 x 514 inches. 

Exhibited at the Singleton Exhibition, 1920. No. 5. 

Martin H. Colnaghi Collection. 


LADY HAMILTON 

Head and shoulder. Sketch for the picture engraved by C. Knight, 
and published June, 1815, by S. and J. Fuller. 

Pencil drawing, flesh, mouth and lips tinted in water colour, on paper. 
Size, 514 x 7 inches. 

Exhibited at the Singleton Exhibition, 1920. No. 6. 

Martin H. Colnaghi Collection. 


153 


254 


256 


[261] [262] 


HENRY SINGLETON 
1766-1839 
CHASTITY 


~Finished drawing, with the same subject as the next number. 


Water colour on paper. Size, 9 x 514 inches. 
Exhibited at the Singleton Exhibition, 1920. No. 7. 
Martin H. Colnaghi Collection. 

Companion picture to No. 257. 


VESTAL 

Study for the engraved picture “Chastity.” 

Pencil drawing on paper. Size, 8Vg x 51% inches. 
Exhibited at the Singleton Exhibition, 1920. No. 8. 
Martin H. Colnaghi Collection. 

See also the following number. 


VESTAL 

Half length of the same subject as in the preceding number. 
Water colour and pencil drawing on paper. Size, 73 x 51% inches. 
Exhibited at the Singleton Exhibition, 1920. No. 9. 

Martin H. Colnaghi Collection. 


154 


HENRY SINGLETON 
1766-1839 


257 LOVE 
Engraved drawing, companion to “Chastity”, No. 254. 
Water colour drawing, with a few pencil strokes, on paper. Size, 
8%, x 514 inches. 
yt Exhibited at the Singleton Exhibition, 1920. No. 11. 
hee Martin H. Colnaghi Collection. 


258 MISS SIMPSON AND BROTHERS 
Pencil drawing, flesh and faces tinted in water colour, on paper. Size, 
514 x 9 inches. 

7 Martin H. Colnaghi Collection. 

t ig gia “An important composition.” 


[SEE ILLUSTRATION] 


259 MRS. HEARNE AND CHILDREN 
Pencil, the faces and hands tinted in water colour, on paper. Size, 
9 x 514 inches. 
Exhibited at the Singleton Exhibition, 1920. No. 13. 

we Martin H. Colnaghi Collection. 

“A very fine tinted drawing.” 


[SEE ILLUSTRATION] 


260 PORTRAIT OF MRS. FORSTER 
Pencil drawing, the flesh and face tinted in water colour. 
Finished sketch for the portrait, exhibited at the Royal Academy, 
1809. No. 174. 
Exhibited at the Singleton Exhibition, 1920. No. 14. 
Martin H. Colnaghi Collection. 
“A striking picture of a lovely woman.” 


[SEE ILLUSTRATION ] 


261 CUPIDS 

Pencil and water colour on paper. Size, 51% x 9 inches. 
i Signed on left bottom corner in India ink, “H. S. delt.” 
Zy*= Exhibited at the Singleton Exhibition, 1920. No. 16. 
Martin H. Colnaghi Collection. 
Companion to the following number. 


[SEE ILLUSTRATION] 
155 


262 


— 263 


264 


265 


CUPIDS 

Pencil and water colour on paper. Size, 814 x 9 inches. 
Sketch for the picture ‘“Cupids—Shepherds’’. 

Exhibited at the Singleton Exhibition, 1920. No. 17. 
Martin H. Colnaghi Collection. 

Companion to the preceding number. 


[SEE ILLUSTRATION] 


CUPIDS RESTING | 

Pen and ink drawing on paper. Size, 51% x 9 inches. 
Exhibited at the Singleton Exhibition, 1920. No. 18. 
Martin H. Colnaghi Collection. 

“A charming composition.” 


CUPIDS AND LOVE 

Pencil drawing on paper. Size, 514 x 9 inches. | 
Inscribed in India ink in the left bottom corner, in the artist’s hand- 
writing, “H. S. delt.” 

A charming composition for an oil picture. 

Exhibited at the Singleton Exhibition, 1920. No. 19. 

Martin H. Colnaghi Collection. 


MASTER ACLAND 

Son of Sir T. Acland, Bt. Standing on right, facing front, holding 
lovingly the neck of a fine poodle. 

Pencil and water colour drawing. Size, 9 x 514 inches. 

The boy’s portrait with his brother and the same dog was in the 
Royal Academy of 1823. This is one of the sketches made for the 
study of the picture. 

Inscribed on the left bottom corner in pencil, in the artist’s hand, 
“T. Acland”. 

Martin H. Colnaghi Collection. 

“A most lovely drawing.” 


[SEE ILLUSTRATION ] 
156 


[259] 


[269] 


[260 | 


[265] 


266 


268 


270 


A211 


HENRY SINGLETON 
1766-1839 
THE CARD PARTY 
Pen and ink drawing. Size, 51% x 9 inches. 
Exhibited at the Singleton Exhibition, 1920. No. 24. 


‘Martin H. Colnaghi Collection. 


ALLEGORICAL SUBJECT 

Two women seated, reading. 

Pencil on paper. Size, 5144 x 9 inches. 

Exhibited at the Singleton Exhibition, 1920. No. 25. 
Martin H. Colnaghi Collection. | 


ALLEGORICAL SUBJECT 

Woman reclining, reading a large book. 

Pencil on paper. Size, 51% x 9 inches. i 
Exhibited at the Singleton Exhibition, 1920. No. 26. 
Martin H. Colnaghi Collection. 


PORTRAIT OF P. LATOUCHE, ESQ. 

Pencil drawing, hands and face tinted in water colour, on EE is 
Size, 9 x 514 inches. 

Sketch for the picture exhibited in the Royal Academy, 1813, under 
the name “P. Latouche, Senior’. No. 62. 

Exhibited at the Singleton Exhibition, 1920. No. OT, 

Martin H. Colnaghi Collection. 


[SEE ILLUSTRATION | 


PORTRAIT OF A. KNOX, ESQ. 

Pencil on paper. Size, 55% x 9 inches. 

Sketch for the picture exhibited at the Royal Academy, 1813. No. 62. 
Exhibited at the Singleton Exhibition, 1920. No. 28. 

Martin H. Colnaghi Collection. 

“A study from life, a wonderfully strong work.” 


PORTRAIT OF THE REV. MR. WHALLEY 

Tinted drawing on paper. Size, 5%, x 514 inches. 

Sketch for the picture exhibited at the Royal Academy, 1812. No. 271. 
Inscribed at bottom in the artist’s handwriting. ‘Revd. Mr. Whalley 
—Aug. 11, 1812”. 

Exhibited at the Singleton Exhibition, 1920. No. 29. 

Martin H. Colnaghi Collection. 


158 


} 
| 


HENRY SINGLETON 
1766-1839 


272 A VILLAGE 
Water colour on paper. Size, 514 x 9 inches. 
Exhibited at the Singleton Exhibition, 1920, under the title “Castle 
and Park’. No. 30. 
_f4¢— Martin H. Colnaghi Collection. 


273 A MARKET GIRL 
Coloured in chalks, on paper. Size, 1444 x 9% inches. 
Lord Tweedmouth Collection. 
Jé “An important drawing, in good condition.” 
Companion picture to the following number. 


[SEE ILLUSTRATION ] 


274 A SHEPHERD BOY 
Black and red chalk drawing on paper. Size, 14% x 9% inches. 
4 ¥, ve Lord Tweedmouth Collection. fe 
“A very important drawing, in fine condition.” 
Companion picture to the preceding number. 


[SEE ILLUSTRATION | 


159 


a 


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[275] 


JOHN SMART 
1740-1811 


John Smart, the great miniaturist, also executed some tinted drawings of 
minute finish and delicate colour. 


275 PORTRAIT OF A LADY ON A TERRACE 
Pencil tinted water colour on paper. Size, 145/g x 95% inches. 
Signed “J. Smart” on the left bottom corner. 


160 


276 


[276] [277] 


JOHN SMART 
1740-1811 


PORTRAIT OF A GENTLEMAN 

Water colour on paper. Oval. Size, 31% x 31% inches. 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 2387. 
Ernest Renton Collection. 


[SEE ILLUSTRATION | 


PORTRAIT OF A LADY 
Tinted pencil drawing on paper. Size, 6%. x 4%, inches. 
Exhibited at ‘Les Maitres Anglais’, Paris, 1919. No. 238. 


[SEE ILLUSTRATION ] 


JOHN RAPHAEL SMITH 
1752-1812 


John Raphael Smith is as accomplished a draughtsman and pastellist as he 
is an eminent engraver. In his water colours as in his oils he evinces a 
marked taste for crowning his lady sitters with a hat, having cleverly 
developed his skill in rendering the shadows thus thrown upon the face. 


161 


[278] 


JOHN RAPHAEL SMITH 
1752-1812 


278 PORTRAIT OF A LADY IN A PARK 
Pencil and sepia on paper. Size, 1634, x 11 inches. 


Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 241; Zurich, 
1920. No. 108. 


Ernest Renton Collection. 


162 


279 


om toate Malai 


le Se tee Ee 


JOHN RAPHAEL SMITH 
1752-1812 


PORTRAIT OF A LADY IN A BLACK LACE MANTLE 

From an old inscription written in ink and pasted on the back of 
the frame, we are inclined to think that this dear old lady was the 
Dowager Lady Webster. 

Pencil and water colour on paper. Oval. Size, 53% x 4% inches. 
Very suitably framed in a deep wooden square frame with an inner 
gilded oval frame. 

Exhibited at ‘“‘Les Maitres Anglais’, Paris, 1919. No. 242. 

Ernest Renton Collection. 


PORTRAIT OF A LADY 

Pencil and water colour on paper. Size, 1014 x 8 inches. 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 243; Zurich, 
1920. No. 109. 

Ernest Renton Collection. 

“A very decorative and genuine work of the master.” 


[SEE ILLUSTRATION ] 


163 


[281] 


JOHN RAPHAEL SMITH 
1752-1812 


281 PORTRAIT OF THE CLAVERING CHILDREN, AFTER GEORGE 
ROMNEY THE ENGRAVER’S DRAWING. 

Je Chalks on paper stretched on canvas. Size, 1614 x 14 inches. 
Elaborate gilded wood frame. Traces of signature and inscription 
cn left bottom, under dogs’ feet. Printed on front of frame: “ ‘The 
Clavering Children’ after George Romney. The Engraver’s Drawing. 
by JOHN RAPHAEL SMITH.” 

Ernest Leggatt Collection. 


164 


ie eT ey 


2 


THOMAS STOTHARD 
1755-1834 


As a book illustrator and a decorative draughtsman Thomas Stothard had 
in his day no rival. His small drawings in sepia and India ink are really 
small masterpieces. 


282 SIX BOOK ILLUSTRATIONS 


(a) ILLUSTRATION FOR “CLARISSA”’ 

Young girl kneeling, facing left, at table, with her head on large 
book. 

Size, 45 x 2% inches. 

(b) ILLUSTRATION FOR “CLARISSA” 

Woman on her death bed, surrounded by sorrowing household. 
Size, 414 x 3 inches. 

(c) FRONTISPIECES FOR Books: “THE NYMPH FOREDOOMED.” “A 
PAIR” = 

Mercury advances towards an old man sitting on steps on left. 

The other, a bare legged warrior, with short mail tunic, who has 
leapt into his chariot, bearing on his shoulders a woman. 

Size, 414 x 214 inches. 

(d) ILLUSTRATION FOR “MARIA” 

A drawing room. A young man, facing front, is moving rapidly and 
fearfully left, to avoid a dark-haired man who has just arrived. 
Size, 452 x 213/16 inches. 

(e) ILLUSTRATION FOR ‘‘PILGRIM’S PROGRESS” 

Women and children gathering fruit. 

Size, 334 x 211/16 inches. 

All in sepia and India ink on paper. 

Fairfax Murray Collection. 


GEORGE, MARQUESS TOWNSHEND 
1724-1807 


The Marquess Townshend is one of the most distinguished amateur artists 
at the end of the eighteenth century. 


283 PORTRAIT OF A LADY 


Inscribed in bottom left of frame, “‘1797’’. 

Marquess Townshend Collection. 

Hedderwick Collection. 

Ernest Renton Collection. 

“This work has been attributed in the past to St. Simon, but in the 
expert’s opinion, it was executed by the Marquess Townshend.” 


[SEE ILLUSTRATION ] 
165 


[284] 


QUEEN VICTORIA 
1819-1901 


284 This is a sketch of Queen Victoria, executed by herself when young. 


yor 


It reappeared during the Great War at the Red Cross Sale, where 
it was bought by Mr. Renton. 

Drawing in pencil, slightly tinted in water colour, on paper. Size, 
11 x 8% inches. 

Exhibited at ‘‘Les Maitres Anglais”, Paris, 1919. No. 250; Zurich, 
1920. No. 118. 


166 


[285] [288] 


FRANCOIS HUET VILLIERS 
1772-1813 


Francois Villier’s works, in spite of his French origin, can be considered 
as clearly English drawings. 

He was born in Paris, but the Revolution caused him to settle in London, 
where he practised successfully. He exhibited at the Academy and the 
British Institution from 1803 to 18138, the year of his death. 


285 PORTRAIT OF A GENTLEMAN 
Pencil and water colour on paper. Oval. Size, 6144 x 514 inches. 
Signed and dated “F. Huet Villiers 1804” on the left of the picture. 
Braithwaite Wilson Collection. 

i, So Ernest Renton Collection. 


[SEE ILLUSTRATION] 


THOMAS CHARLES WAGEMAN 
1787-1863 


An artist who specialized from the beginning of the nineteenth century in 
theatrical portraits. 


40286 PORTRAIT OF MRS. EDWIN 
Pencil gouached, on paper. Size, 4 x 24% inches. 
Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 251. 
Sir Henry Irving Collection. 


167 


Dike 


Vos 


oy) 


COUNT JOHANN MAXIMILIAN WALDECK = 
1766-1875 | a 


This interesting artist beats all records of length of life, and is certainly :- 
the champion among artists; he was an Austrian nobleman, born in Vienna a 
in 1766, and lived for 110 years. He studied art in Paris, under Vien, . 


Ar 


David and se: Later he became established in Lond es 


287 PORTRAIT OF MISS KEMBLE AS EUPHRASIA IN “THE — 


GRECIAN DAUGHTER” 
Water colour on paper. Size, 6x 43, inches. 


‘JAMES WARD, R.A. | 
1769-1859 


James Ward is one of the most proficient draughtsmen of the English i 


School of the beginning of the nineteenth century, and out of anxiety to 
have his work distinguished from that of Morland he signed all his draw- 


ings, even to the slightest sketches. 


288 LADY SITTING AT A TABLE 

: Water colour drawing on paper. Size, 7 Vg x 634, inches. 
Signed on the left bottom corner, “J. W. R. A.” 

Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 252. 
Geoffrey Whitehead Collection. 


[SEE ILLUSTRATION |] 


WILLIAM WARD 
1766-1826 


William Ward, the brother of James Ward, sometimes executed small 


crayon drawings broadly dashed in and undoubtedly influenced by Mor- 


land. Although his engravings are well known, his drawings seem to have 
been overlooked. They are, however, of high technical quality and well 
deserving the attention of collectors. | 


289 PORTRAIT OF A GENTLEMAN 
Pencil drawing with full-coloured dashes in chalk over a general 
tint of water colour, on paper. Oval. Size, 9x7 anehes. 
Braithwaite Wilson Collection. 
Ernest Renton Collection. 


[SEE ILLUSTRATION ] 
168 


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[289 ] 


L. J. WATTEAU de LILLE 
1731-1798 
So called to distinguish him from his uncle and from his son, Antoine 
Watteau de Valenciennes. Pupil of the Paris Royal Academy, he settled 
in Lille in 1755, and became professor at the Academy, where he introduced 
the nude model. 


290 SIX DRAWINGS 
(a) YOUNG MAN WITH A JABOT 
Pencil on paper. Size, 2%, x 23% inches. 
(b) OLD MAN WITH STICK 
Pencil on paper. Size, 314 x 21% inches. 
(c) STUDY OF A WOMAN 


Three-quarter length, seated, facing right, and resting fer right 
Lo SE 


elbow on the back of the seat in the foreground. 

Pencil on paper. Size, 414 x 25% inches. 

(d) LADY WITH A HIGH-CROWNED HAT 

Pencil on paper. Size, 354 x 21/16 inches. 

(e) Two STUDIES FOR CLOTHING 

Upper left, a man shows his back to waist; right arm outstretched; 
long coat with short collar; wig. 

Lower right, headless bust, facing three-quarters right. Long coat 
with large buttons and high collar; lace jabot; double-breasted waist- 
coat with small buttons. 

Pencil on paper. Size, 65% x 334, inches. 


RICHARD WESTALL, R.A. 
1765-1836 
Richard Westall, a fellow student of Sir Thomas Lawrence, is best known 
as a book illustrator in domestic and rural subjects. But his small half- 
length portraits in water colour, as well as his heads, deserve appreciation 
for their elegance and fine quality of draughtmanship. 


291 L’ALLEGRO 
A portrait of Lady Hamilton. 
Conté, chalk and water colours, on paper. Size, 9x 8 inches. 
The four corners have been clipped. 
Exhibited at “Les Maitres Anglais’, Paris, 1919; Zurich, 1920. 
No. 254. 
Martin H. Colnaghi Collection. 
Charles Newton Robinson Collection. 
“One of the most charming works ever executed by this artist. A 
representative museum piece.” 
Companion to the following number, “Il Penseroso”’. 


[SEE ILLUSTRATION | 


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[292] [291] 


RICHARD WESTALL, R.A. 
1765-1836 
IL PENSEROSO 
A portrait of Miss Siddons, the daughter of the celebrated actress. 
Conté, chalk and water colours on paper. Size, 9x 8 inches. 
Companion drawing to the preceding number, “L’Allegro”’. 


YOUNG LADY IN CLASSICAL DRESS, PROBABLY THE 
PORTRAIT OF AN ACTRESS 

Water colour and Chinese white, on paper. Size, 614 x51% inches. 
Ernest Renton Collection. 

“A very charming work.” 


PORTRAIT OF PRINCESS VICTORIA AS OPHELIA 

Queen Victoria when twelve years old had Richard Westall as draw- 
ing master. 

Tradition has it that one day Westall asked the permission of his 
royal pupil to draw her charming profile in his sketch book. The 
young princess agreed and picking up the tunic of Ophelia—which 
the artist had ready for his big historical picture of Hamlet and 
Ophelia—she donned it and arranged her hair in the style of the 
period. The artist made a large drawing, which is still in the royal 
collection, and a smaller one which he kept. 

Pencil drawing on paper. Size, 544,x 31% inches. 

Signed with initials “R. W.” on bottom right corner. 

Fairfax Murray Collection. 


171 


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295 


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296 


RICHARD WESTALL, R.A. 
1765-1836 

FOUR DRAWINGS 
Illustrations for Bernardin de Saint-Pierre’s ‘Paul et Virginie’, 
translated by Helen Maria Williams. : 
(a) PAUL CARRYING VIRGINIA IN THE FOREST TO CROSS A FORD 
Pencil on paper. Size, 434, x 3%, wmches. 
Fairfax Murray Collection. 
(b) VIRGINIA WAITING FOR PAUL 
Pencil on paper. Size, 434,x 3% inches. 
Initialled in the right bottom corner, ‘‘R.W.” 
Fairfax Murray Collection. 
“A perfect little drawing.” 
(c) PAUL’S DESPAIR | 
Pencil on paper. Size, 45 x 334, inches. 
Initialled in the right bottom corner, “R.W.” 
Fairfax Murray Collection. 
(d) THE DEATH OF VIRGINIA 
Pencil on paper. Size, 45 x 334, inches. 
Initialled in the right bottom corner, “R.W.” 
Fairfax Murray Collection. 


FOUR DRAWINGS 

Illustrations for Gay’s ‘Fables’”—the celebrated Stockdale edition, 
1798. 

(a) THE MOTHER, THE NURSE AND THE FAIRY 

Slightly drawn in pencil on paper. Size, 4% x 4 inches. 
(b) THE PHILOSOPHER AND THE PHEASANTS 

Slightly drawn in pencil on paper. Size, 4%, x 4 inches. 
Fairfax Murray Collection. 

(c) THE PEACOCK, THE TURKEY AND THE GEESE 
Slightly drawn in pencil on paper. Size, 434, x 4 inches. 
(qd) THE SHEEP DOG AND THE WOLF 

Slightly drawn in pencil on paper. Size, 45 x 3% inches. 
Fairfax Murray Collection. 


172 


297 


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RICHARD WESTALL, R.A. 
1765-1836 

THREE SKETCHES 
(a) KING AND COURTIERS 
Pencil on paper. A few lines in India ink. Size, 734 x 51% inches. 
Signed in the left bottom corner, “R. Westall R.A.” 
Fairfax Murray Collection. 
(b) THE RIVER ARUN AND THE CHILD OTWAY 
India ink drawing on paper. Size, 27% x 4 inches. 
Fairfax Murray Collection. 
(c) MOORISH GATEWAY, WITH VIEW OF A CITY IN THE BACKGROUND 
Sepia and water colour drawing on paper. Size, 5Yg, x 51% inches. 
Signed in the right bottom corner, “R. Westall R.A.” 
Fairfax Murray Collection. 


THREE DRAWINGS 

(a) SKETCH OF FIGURES IN A DOORWAY 

Charcoal drawing on paper. Size, 5% x 41% inches. 
Initialled in the right bottom corner, “R.W.” 
Fairfax Murray Collection. 


_ (b) DR. FAUST AT THE FANTASTIC BALL 


An important composition, with numerous figures of dancers, musi- 
cians, etc., in the background. It bears the marks of the engraver’s 
tool in transferring the main lines to the plate. 

Pencil, charcoal and India ink on paper. Size, 834, x 61% inches. 
Fairfax Murray Collection. 

(c) SKETCH: STUDY OF TWo HANDS 

Black and white chalk drawing on steel-blue paper. Size, 334, x 454 
inches. 

Fairfax Murray Collection. 


SELF-PORTRAIT 

Head in profile, looking up to the right. 

Highly finished pencil drawing on paper. Size, 334 x 37/16 inches. 
Fairfax Murray Collection. 


HEAD OF JOHN KEATS 

Profile to the left of the famous poet, showing both eyes. 
Pencil on paper. Size, 31% x 3V% inches. 

Inscribed “Keats” in left bottom corner. 

Fairfax Murray Collection. 


173 


301 


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302 


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RICHARD WESTALL, R.A. 
1765-1836 


HEAD AND SHOULDERS OF A YOUN G GIRL 
Three-quarters to the right. 

Pencil on paper. Size, 414 x 414 inches. 

Fairfax Murray Collection. 


NINETEEN DRAWINGS—ILLUSTRATION S FOR THE BIBLE 
(a) THE. FALL OF SATAN INTO THE AByss. Rev. xx, 11 


Pencil on paper. Size, 55 x 34Yg inches. 


Signed with initials in bottom right corner, “R. W. Ks 
(b) Moses ABANDONED IN THE BULRUSHES. Ex. ii, 3 
With the engraving. : 

Pencil on paper. Size, 314 x 5% inches. 

The engraving is smaller. 

Signed with initials, bottom right, “R. W.” 

(c) MOSES STRIKING THE ROCK. Num. xx, 11 | 
With the engraving. 

Pencil on paper. Size, 58% x 31% inches. 

Signed with initials, bottom right, “R. W.” 

(d) MOSES BRINGING THE TABLES OF THE LAW FROM MOUNT SINAI. 
Ex. Xxxiv, 29 

Pencil on paper. Size, 514, x 33% inches. 

(e) JONAH CAST INTO THE SEA. Jon. i, 15 : 
Note the Biblical whale, with his teeth and large eyes—a whale 
quite capable of swallowing a man. 

Pencil on paper. Size, 53% x 3814 inches. 

Signed with initials on prow of ship, “R. W.” 

(f) JOSHUA AND THE ANGEL. Josh. v, 13 

With the engraving. 

Pencil on paper. Size, 33% x 53% inches. 

Signed with initials, bottom right, “R. W.” 

(9g) THE SACRIFICE OF MANOAH. Judges. xiii, 20 
With the engraving. 

Pencil on paper. Size, 534, x 3814 inches. 

Signed with initials, bottom right, “R. W.” 

(h) SAMSON AND DELILAH. Judges. xvi, 19 

Pencil on paper. Size, 33% x 65 inches. 

Signed with initials on base of bedside table, “R.W.”’ 
(1) THE BRIDE’S COUNSEL TO HER MAIDS. Songs, ii, 7 
Pencil on paper. Size, 33 x 614 inches 

Signed with initials, left bottom, “R. W.” 


174 


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(7) HAGAR AND ISHMAEL. Gen. xxi, 15 

With the engraving. 

Pencil on paper. Size, 4%, x 4 inches. 

Signed with initials, bottom left, “R.W.” 

Squared by the artist for proportions. Touches of red crayon. 

(k) ESTHER KISSING THE ROYAL SCEPTRE. Esther. vy, 2 

Pencil on paper. Size, 334 x 53% inches. 

Signed with initials, bottom left, “R. W.” 

(1) MIRIAM STRICKEN WITH LEPROSY. Num. xii, 10 

With the engraving. 

Pencil on paper. Size, 514 x 33% inches. 

Signed with initials, bottom right, “R. W.” 

(m) ELISHA ON HIS DEATH BED, WITH JOASH KING OF ISRAEL. II 
Kings. xiii, 17 

Pencil on paper. Size, 314, x 514, inches. 

Signed with initials, bottom left, “R. W.” 

(n) RUTH GLEANING IN THE FIELDS OF Boaz. Ruth. ii, 5 

Pencil on paper. Size, 3%. x 53% inches. 

(0) ZECHARIAH’S VISION OF THE FOUR CHARIOTS. Zech. vi, 1 
Pencil on paper. Size, 33% x 514, inches. 

Signed with initials, bottom right, “R. W.” 

(p) JESUS RAISES THE WIDOW’S SON FROM THE DEAD AT NAIN. Luke. 
vii, 15 

Pencil on paper. Size, 332 x 514 inches. 

Signed with initials, bottom right, “R. W.” 

(q) JESUS APPEARS IN THE GARDEN TO MARY MAGDALENE 

Pencil on paper. Size, 584, x 41% inches. 

Signed with initials, bottom left, “R. W.” 

(r) THE ANNUNCIATION. Luke. i, 26 

Pencil on paper. Size, 414% x 15% inches. 

(s) THE BIRTH OF JESUS. Luke. ii, 15 

Pencil on paper. Size, 434 x 1% inches. 

Signed with initials, bottom right, “R. W.” 

These drawings were for “The Bible illustrated with Engravings by 
Charles Heath from the Designs of Richard Westall. Oxford, 1815.” 
All from the Fairfax Murray Collection. 

“The plates have been twice engraved.”—W. T. Lowndes. 


175 


[304] [305] 


FRANCIS WHEATLEY 
1747-1801 


Francis Wheatley, the well known subject painter, has executed many 
drawings of figures, mostly however subject drawings rather than absolute 
portraits. Having such a facile execution he naturally handled a very 
quick pencil. Where he is most charming is perhaps in his septa portraits, 
two of which are reproduced here. These he sketches in with pencil and 
direct with the brush executes his outline, showing his skill and his 


knowledge of the human figure. In this broad manner he obtains an easy, 
perfect outline. 


503 NYMPHS AND FAUNS AT PLAY 


Seven complete figures. On the left, three Cupids decorating a stone 
bust of Silenus with flowers. 


bg Jt Pen and ink drawing tinted in water colour on paper. Size, 111% x 


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7 


135 inches. 


Inscribed in ink, bottom left, ‘““F. Wheatley R. A.” 


3004 PORTRAIT OF A LADY 


‘Pencil and India ink tinted in water colour on paper. Size, 8 x 614 
inches. 


Exhibited at “‘Les Maitres Anglais’, Paris, 1919. No. 257. 
Ernest Renton Collection. 


[SEE ILLUSTRATION | 


176 


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FRANCIS WHEATLEY 
1747-1801 


_ 805 THE YOUNG SHEPHERD AND HIS DOG 
Pencil tinted in water colour on paper. Size, 113% x 8% inches. 
Signed, bottom right, “F. Wheatley’. 


Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 259; Zurich, 
1920. No. 119. 


/ jf" [SEE ILLUSTRATION ] 


SAMUEL DE WILDE 
1748-1832 


Samuel de Wilde is known all over the world through his theatrical por- 
traits both in oil and water colour, though his activities do not by any 
means stop at members of the theatrical profession, Next to his theatrical 
drawings he has also executed some pencil and some sanguine drawings 
which are deserving of the highest praise, and merit the close attention of 
the wise collector. 


De Wilde was born in Holland. He exhibited at the Royal Academy 
between 1788 and 1821. 


306 STUDY OF A YOUNG GIRL 

| Pencil and sanguine on paper. Size, 111% x 714, inches. 

4 on Signed and dated at bottom, “DW N 13 1801 N.” 

Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 264; Zurich, 
1920. No. 122. 


“Important and very fine.” 


[SEE ILLUSTRATION ] 


207 PORTRAIT OF DOWTON, THE ACTOR, IN ONE OF HIS PARTS 
& Water colour on paper. Size, 6 x 434, inches. 
2 Jo- Exhibited at “Les Dessinateurs Anglais’, Paris, 1919. No. 60. 


[SEE ILLUSTRATION ] 


308 PORTRAIT OF A YOUNG WOMAN 
Charcoal and sanguine on paper. Size, 94% x T inches. 
JO a Signed and dated, bottom left, “S De Wilde 1801”. 
Exhibited at “Les Dessinateurs Anglais”, Paris, 1919. No. 59. 
Ernest Renton Collection. 


: 177 


a 


SAMUEL DE WILDE 
1748-1882 


309 PORTRAIT OF MRS. ANTHONY CLARK OF CANTERBURY 
Water colour on paper. Size, 644 x 514 inches. 
Ernest Renton Collection. 


_ [SEE ILLUSTRATION] 


310 PORTRAIT OF WILLIAM PARSONS, THE ACTOR, 
SIGHT” 


Water colour on paper. Size, 914 x 614 inches. 


Signed and dated, bottom left, “S De Wilde Feb 1794”. 
JA Gm Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 262. 


[SEE ILLUSTRATION ] 


311 PORTRAIT OF ELLISON, THE ACTOR, IN A SHAKESPEAREAN 
, ROLE 


Water colour on paper. Size, 1334, x 85 inches. 
Signed and dated, lower right, “S de Wilde July 1780”. 


Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 261; Zurich, 
1920. No. 120. 


[SEE ILLUSTRATION | 


612 PORTRAIT OF CHARLES MACKLIN, THE ACTOR, AS SHYLOCK 


Water colour on paper. Size, 914, x 634 inches. 
Exhibited at ‘Les Maitres Anglais”, Paris, 1919. No. 260. 


[SEE ILLUSTRATION ] 


178 


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1748-1832 


3138 PORTRAIT OF MOTHER AND CHILD 
Pencil and sanguine on paper. Size, 135% x 8% inches. 


Inscribed and dated, bottom left, “ . . ., Pint. Jun 23 1803”. 2 
rixhibited at “Les Maitres Anmais’ Paris 1919. No. 263; Zurich, on 
1920. No. 121. 


314 THE YOUNG CROSSING SWEEPER 
Pencil and sanguine on paper. Size, 1334 x 9 inches. 
Signed and dated, left bottom, “D W ft Jun 26th 1801”, 


[SEE ILLUSTRATION] 


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315 PORTRAIT OF LADY HAMILTON AS THE FAIR COURTESAN 
Pencil tinted in water colour on paper. Size, 684, x 4% inches. 
Sir Tollemache Sinclair Collection. 


/ / : [SEE ILLUSTRATION] 


JOHN YOUNG 
1755-1825 


John Young, the painter and engraver, executed a good many drawings 
at the end of the eighteenth century, and a few pastels. He was mezzotint 
engraver to the Prince of Wales, and keeper of the British Institution. 


JOHN YOUNG 
fe 1755-1825 
/) “316 PORTRAIT OF A LADY 
Pastel on paper. Size, 19 x 151% inches. 
“This drawing has usually been attributed to Cotes, but in the 
expert’s opinion, it is more likely to be that of John Young.” 


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